Field  Columbian  Museum 
Publication  75 
Anthropological  Series 


Vol.  IV 


THE    ARAPAHO    SUN    DANCE; 

THE  CEREMONY  OF  THE 

OFFERINGS  LODGE 


BY 


George  A.   Dorsey 

Curator,  Department  of  Anthropology 


THf  LIBRARY  OF  THE 

APR  2  5  1949 

l'.;iv£r:.iy  c.  i— :..-. 


Chicago,  U.  S.  A. 

June,    1903 


THE   ARAPAHO    SUN    DANCE 


BY 


George  A.  Dorsey 


/ 


CONTENTS. 


Pase 
Introductory  note         ---.... 

I.     Bibliography  --...... 

II.    The  vow  -----... 

Story  of  a  woman's  vow  ---... 

Story  of  Thihduchhjlwkan's  vow  -            -            .            .            .  g 

Thihduchhdwkan's  prayer        -----  9 

Minor  vows  of  dancing  and  fasting           -            -    •        -  g 

III.  Interval  between  the  vow  and  the  ceremony     -                       -            -  10 

IV.  The  sacred  Wheel        -            -            -            -            -            .            .  12 

Description  of  the  Wheel        ......  12 

Symbolism  of  the  Wheel    ------  13 

The  Four-Old-Men       -            -            -            -            -            -            -  13 

Wrapping  the  Wheel         -           -           -           -           -           -  15 

Miraculous  movements  of  the  Wheel            -           -           -           -  20 

V.    Time  of  the  ceremony             ......  22 

VI.    Assemblage  and  formation  of  the  camp-circle  -            -            -            -  22 

VII.     Participants  in  the  ceremony              .....  24 

Participants  in  the  ceremony,  1902     -            -            -            -            -  28 

Alphabetical  list  of  participants   .           -           -           .           -  30 

Warrior  societies          .......  32 

The  priesthood        --.....  33 

VIII.    Characterization  of  the  eight  ceremonial  days    -            -            -            -  33 

IX.    The  Sun  Dance  ceremony       ......  35 

First  day,  1901  and  1902.  35 

Hocheni's  prayer  before  Star  society  *-           -           -     •      •  36 

The  announcement             -           -           -.          -           -           -  36 

The  Rabbit-tipi              -------  37 

^                Rabbit-tipi  taboos         ......  37 

Wood  for  the  ceremonial  fire         -           -           -           -           -  38 

The  Wheel  taken  to  the  Rabbit-tipi  .            -            -            -  38 

The  knife,  rawhide,  and  badger  taken  to  the  Rabbit-tipi          -  38 

Hdwkan's  prayer  in  the  Rabbit-tipi          ...  39 

The  fireplace            .......  39 

The  sage  floor    .......  39 

The  fire,  and  the  war  story            -           -           -           -           -  39 

The  Badger-pack          ......  ^o 

The  buffalo  skull     -.-....  40 

Entrance  into  the  lodge  of  the  Lodge-Maker  and  wife        -  41 

The  feast  and  the  offering  of  food             -            -            -            -  41 

The  offering  of  smoke  ......  41 

The  offering  of  incense       ......  42 

The  drum  and  rattle     ......  42 


vi  Contents. 

Pace 

The  use  of  the  pipe-stem    -           -           -           .           -           -  43 

The  use  of  spittle          ......  ^^ 

Rabbit-tipi  songs  and  the  rehearsal          -           -           -           -  43 

Second  day,  igoi;  second  and  third  days,  1902        ...  ^^ 

The  Sweat-lodge           .......  ^^ 

Omitted  in  igoi              ......  ^^ 

The  Sweat-lodge,  1902             ----..  44 

The  ground  marked  out           .....  45 

The  erection  of  the  Sweat-lodge    -           -           -           -           -  46 

The  Wheel  carried  into  the  Sweat-lodge       ...  47 

"                     Incense  burned        -           -           -           .           -           -           -  47 

Ceremonial  smoking     ......  48 

The  ceremonial  bath           --.-.-  48 

Symbolism  of  the  Sweat-lodge      .....  4^ 

The  Lodge-Maker  solicits  aid             .....  50 

The  cedar  tree,  1902           ......  51 

Rites  within  the  Rabbit-tipi    ......  52 

The  lariat  for  the  center-pole  -           .           •           .           -  52 

Filling  the  straight-pipe     ------  53 

The  ceremonial  digging-stick  -           -           -           -           -  54 

The  ceremonial  digging-stick,  1902          -           -           -           -  55 

Thiyeh's  prayer  to  Hocheni            ....  55 

HAwkan's  prayer  to  digging-stick        -           -           -           -  56 

The  ceremonial  scalp    ---...  58 

The  ceremonial  knife          --..--  59 

The  buffalo  skull  decorated     .....  5^ 

The  buffalo  skull  decorated,  1902  -            -            -^           -           -  60 

The  Lodge-Maker's  robe          .....  62 

Symbolism  of  the  Lodge-Maker's  robe    -           -           -           -  65 

The  sacred  Wheel  placed  on  its  support       -            -           -  68 

Capture  of  a  buffalo            -           -           •            -  .         -           -  68 

Capture  of  a  buffalo,  1902         .....  69 

Painting  of  the  buffalo  hide           -            -           -           -           -  70 

Eagle  feathers  given  to  Young-Bull   -            .           -           -  72 

Watdngaa's  prayer  to  Young-Bull       -            -"          -            -  72 

The  belt  and  headdress  repainted      ....  73 

Hilwkan's  prayer            -            -            -            -            -            -  74 

Symbolism  of  the  belt  and  headdress             ...  75 

The  rawhide  drum  and  night  rehearsal    -           -           -           -  76 

Rites  outside  the  Rabbit-tipi         .....  77 

Timbers  for  the  lodge         ......  77 

Locating  the  center-pole          .....  77 

The  Offerings-lodge  located          -            -            -           -           -  78 

Hdwkan's  prayer     ......  79 

Third  day,  1901       ........  80 

The  center-pole  captured  --....  80 

The  center-pole  captured,  1902           -            -            -           -           -  81 

Nishchdnakati's  prayer       .....  82 

The  center-pole  taken  to  the  camp-circle           -           -           -  84 


Contents.  vii 

Page 

Building  the  Offerings-lodge         .....  85 

Final  rites  in  the  Rabbit-tipi  .-..--  85 

The  "packed "  bird       ......  86 

The  digging-stick  prepared           -           -           -           -           -  86 

Healing  ceremony  with  the  Wheel,  igo2        -           -            -  87 

The  privilege  of  painting  the  center-pole            -           -           -  87 

The  Lodge-Maker  painted,  igoi         ....  89 

The  Lodge-Maker  and  associates  painted,  1902  -           -           -  8g 

Hdwkan's  prayer      -            -            -    .^       -            -            -  90 

Hdwkan's  prayer            ......  qi 

The  Rabbit-tipi  abandoned           .            .            .            .            .  g2 

The  Rabbit-tipi  abandoned,  1902        -           -           -           -           -  93 

The  lodge-poles  painted    ......  93 

The  lodge-poles  painted,  1902             -           -           -            -           -  94 

The  Offerings-lodge  completed    -           ...           -  96 

The  Offerings-lodge  completed,  1902             -           -           -           -  97 

The  Offerings-lodge  dedicated      .....  97 

The  Offerings-lodge  dedicated,  1902  -           -           -                       -  98 

The  beginning  of  the  dance           .....  q8 

Hdwkan's  prayer           ......  qq 

The  beginning  of  the  dance,  1902             ....  100 

The  rawhide  incensed         ......  100 

The  offering  of  the  Lodge-Maker's  wife        -           -           -  lOl 

Dancing  to  the  Four-Old-Men      .....  102 

The  rawhide  incensed  ...---  103 

Fourth  day,  1901;  fifth  day,  1902  -            .....  103 

The  Sunrise  dance              ......  103 

Assembling  material  for  the  altar      .....  104 

Preparing  the  sods        ...--.  104 

The  sods  brought  to  the  Offerings-lodge,  1902    -           -           -  105 

Hdwkan's  prayer     .--..-  106 

Timbers  for  the  altar   ...----  108 

The  erection  of  the  altar    -.-.--  109 

The  "  ditch "  made  -            -            -            -            -            -            -  109 

The  "ditch"  painted     -.-.--  109 

The  skull  repainted            -           -           •           -           -           -  no 

The  sods  painted           -           -           -           -           •           -  no 

The  seven  trees       -           -           -           -           -           •           -  no 

The  seven  upright  sticks          -           -           •           -  ni 

The  Wheel  and  pipe  placed  in  position  -                       -           -  ni 

The  seven  curved  sticks           -           -           -           -           -  ni 

The  altar,  1902  -           -           -           -           •           -           -           -  n2 

The  symbolism  of  the  Offerings-lodge     -           -           -           -  n2 

Man-Above  -           -           -           -           -           -           -           -  n2 

The  Four-Old-Men       -           -                       -            -           -  n3 

Nih'a"9a'' and  the  elk  skull             .....  113 

The  Thunderbird  nest               ...            -            -  114 

Young-Bull  -            -            -            -            -            -            -            -  U4 

Story  of  result  in  neglecting  Young-Bull       -           -           -  US 


viii  Contents. 

Page 

The  abiding-place  of  Man-Above             -            -           -^          -  ii8 

The  sky  and  earth         -            -            -            -            -            -  ng 

The  tipi         --.-....  120 

The  seven  trees  -           ......  |2i 

The  Wheel  -----..-  122 

The  Badger-Woman     ------  122 

Opened-Brains'  knife          -           -           -           -           -           -  123 

The  color  symbolism  of  the  original  Offerings-lodge            -  124 

The  distribution  of  presents           .....  125 

HAwkan's  prayer      ......  125 

The  distribution  of  presents,  1902             ....  125 

Expense  of  making  the  Ofiferings-lodge                      -            -  127 

The  feast  and  the  sacrifice  of  food            -          ♦  -            -           -  127 

Ceremonial  smoking     ......  128 

Ceremonial  smoking,  1902  -.---.  129 

The  dancers  painted     -            -            -           -            -           -  130 

The  dancers  painted,  1902             .....  1^2 

The  dance          -           -           -  '         -           -            -            -  133 

The  dance,  1902       -            -            -            -            -            -            -  134 

Fifth  day,  1 901;  sixth  day,  1902          .....  ly^ 

The  Sunrise  dance        .......  1^5 

Preparation  of  the  sage  wreaths  and  bandoleers            -           -  135 

Hanikenakuwu's  prayer           .....  136 

Intrusive  ceremonies          ......  ijg 

Inauguration  of  new  chiefs             ...            .            .            .  137 

Name-changing  ceremony,  1902          -            -            -            -  137 

The  Lodge-Maker's  prayer       -            .            .            .            .  137 

Medicine  night        -            -            -            -            -            -            -  137 

Sixth  day,  1901;  seventh  day,  1902           .....  i^S 

The  morning  dance            ......  ijg 

The  morning  dance,  1902         ......  ijg 

The  feast  and  sacrifice  of  food      -            .            .            -            .  13Q 

The  dancers  painted    -....--  140 

The  dancers  painted,  1902             .....  1^1 

Ceremony  with  the  Wheel       ......  142 

Preparation  of  the  sweet-water     -           .           .           -           .  143 

Preparation  of  the  sweet-water,  1902              ....  146 

HAwkan's  prayer      ......  147 

Htlwkan's  prayer           ......  148 

The  Sunset  dance   -           -           -           -           -           -           -  150 

Bathing  and  purification  of  the  dancers        -           -           -           '  ,  '5^ 

Breaking  of  the  fast            -            -            -            -            -            -  153 

Seventh  day,  1901;  eighth  day,  1902        .....  153 

Early  rites  in  the  lodge      ......  153 

The  Sunrise  dance       .......  154 

Smoking  the  straight-pipe             .....  155 

The  morning  rites,  1902            ......  156 

The  sacrifice  of  children's  clothing          ....  156 

Prayer  before  the  sacrifice       -           -           -            -           •  ^57 


Contents.  ix 

Page 

End  of  the  ceremony,  1902            -            -            -            -            -  157 

Ultimate  fate  of  the  Offerings-lodge  -           -                       -           -  '57 

Rites  in  the  Dog-soldiers'  lodge    -           -           -           -           -  158 

X.    The  painting  of  the  dancers         -  -  -  -  -  -158 

The  Mother-Earth  paint    ---.-.  15^ 

The  Lodge-Maker's  paint       ......  160 

The  Pink-Calf  paint            ......  162 

The  Pink  paint  -            -            -            -            -            -            -            •  163 

The  Yellow-Earth  paint     -----.  164 

The  Yellow  paint  (first)            ......  igj 

The  Yellow  paint  (second)             .....  igj 

Paints  worn  in  the  Offerings-lodge,  1902             ....  igg 

The  Lodge-Maker's  paint ......  167 

The  Yellow-Earth  paint           ......  167 

The  Yellow  paint  (second)            .....  157 

The  Yellowhammer  paint       ......  i6q 

The  Circular  or  Thunder  paint     -            -            -            -            .  170 

Origin  of  the  Circular  or  Thunder  paint  -           -           -           -  171 

General  observations  on  the  paints          ....  172 

XL    The  relation  of  the  Transferrer  to  the  Lodge-Maker's  wife     -           -  172 

XIL    Offerings-lodge  songs  -----..  178 

XIIL    Torture        .........  lyg 

Piercing  the  ears    ..--..-  179 

'         Piercing  the  ears,  Arapaho  story  of  -            -            -            -            -  180 

Sacrifice  of  human  flesh    -           -           -           -           -           -  182 

The  sacrifice  of  a  woman's  finger,  story  of    -           -           -           -  184 

XIV.    Children's  games  during  the  Sun  Dance  ceremony            -           -  187 

Game  of  buffalo  meat  -------  188 

Game  of  choosing  grandfathers    .....  189 

Games  while  bathing    -           -           -           -           -           -           -  191 

XV.    Sun  Dance  myths         .......  191 

Origin  myth       ........  191 

Little  Star    ..-..---  212 


ILLUSTRATIONS. 


Plate. 

I.  The  Sacred  Wheel 

II.  Cheyenne  tipis  ...... 

III.  Ghost-dance  tipis  ----.. 

IV.  WatAngaa's  tipi  ...... 

V.  Rabbit-tipi  ...... 

VI.  Laying  out  the  Sweat-lodge    -  .  -  -  . 

VII.  Erecting  the  Sweat-lodge  .... 

VIII.  Completing  the  Sweat-lodge  -  -  -  .  . 

IX.  Relation  of  the  Sweat-lodge  to  the  Rabbit-tipi  - 

X.  Lodge-Makers  starting  to  solicit  assistance 

XI.  Lodge-Makers  returning  from  soliciting  assistance 

XII.  Cedar  tree  for  the  Rabbit-tipi  .... 

XIII.  Thiyeh  preparing  the  rawhide  lariat 

XIV.  Staking  out  the  buffalo  ..... 
XV.  Ceremonial  capture  of  the  buffalo 

XVI.  Bringing  lodge-poles  into  the  camp-circle   - 

XVII.  Ghost-dance  costumes       ..... 

XVIII.  The  march  to  the  capture  of  the  center-pole 

XIX.  Praying  before  cutting  the  center-pole  - 

XX.  Touching  the  center-pole  with  the  pipe-stem  before  it  is  cut 

XXI.  Cutting  down  the  center-pole       -  .  .  . 

XXII.  The  center-pole  trimmed  to  its  proper  length 

XXIII.  Transferring  the  center-pole  across  the  river    - 

XXIV.  Warrior  societies,  ready  for  the  sham  battle 

XXV.  After  the  sham  battle        -  ...  - 

XXVI.  The  Thunderbird  society  after  the  sham  battle 

XXVII.  Unloading  the  center-pole  .  .  .  . 

XXVIII.  Erecting  the  Offerings-lodge  .  .  .'  . 

XXIX.  Erecting  the  Offerings-lodge       .... 

XXX.  The  wife  of  the  Lodge-Maker  .... 

XXXI.  Warrior  societies  awaiting  the  Rabbit-tipi  priests 

XXXII.  Rabbit-tipi  priests  leaving  the  Rabbit-tipi  - 

XXXIII.  Rite  before  painting  the  reach-poles      - 

XXXIV.  Painting  the  reach-pole  -  -  -  -  - 
XXXV.  Painting  the  center-pole   .            .           -            .           - 

XXXVI.  The  fork  of  the  center-pole    ..... 

XXXVII.  The  upper  half  of  the  center-pole  ... 

XXXVIII.  Completion  of  the  Offerings-lodge    .... 

XXXIX.  Temporary  altar    ...... 

XL.  Preliminary  rites  before  cutting  the  sods     -  -  - 

XLI.  Cutting  the  sods     -  -  -  -  -  - 

XLII.  Taking  the  sods  from  the  ground      .  -  -  - 


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Illustrations. 


XI 


Plate 

XLIII.  Transfer  of  the  sods  to  the  Offerings-lodge 

XLIV.  Transfer  of  the  sods  to  the  Offerings-lodge 

XLV.  Transfer  of  the  sods  to  the  Offerings-lodge 

XLVI.  Removing  the  sods  from  the  blanket 

XLVII.  Rite  before  trimming  the  sods     -  -  -  - 

XLVIII.  Trimming  the  sods      ...... 

XLIX.  The  refuse  earth  removed  from  the  Offerings-lodge     - 

L.  Preparing  the  billets  for  the  ceremonial  bed 

LI.  Dividing  the  rabbit  bushes  -  .  .  . 

LI  I.  Rite  before  insertion  of  rabbit  bushes 

LIII.  Inserting  the  rabbit  bushes  in  the  sods  - 

LIV.  Erecting  the  trees  for  the  altar  ... 

LV.  Erecting  the  trees  for  the  altar    -  -  -  - 

LVI.  Erecting  the  trees  for  the  altar  .  .  .  . 

LVII.  Placing  the  upright  sticks  in  position     - 

LVIII.  Placing  the  upright  sticks  in  position 

LIX.  Placing  the  upright  sticks  in  position 

LX.  The  camp-circle  and  the  Offerings-lodge     - 

LXI.  The  altar 

LXII.  Details  of  the  altar      .--... 

LXIII.  Feast  for  the  grandfathers  .  .  .  . 

,LXIV.  Sacrifice  of  food  ...... 

LXV.  Painting  the  dancers         -  -  -  - 

LXVI.  Painting  the  dancers  ------ 

LXVII.  The  dancers  bathing         .  -  -  .  . 

LXVIII.  Dancers  receiving  the  poultice  .  -  .  . 

LXIX.  Incensing  the  rawhide       -  -  -  .  . 

LXX.  Incensing  the  rawhide  .  .  -  .  . 

LXXI.  Incensing  the  rawhide       -  -  .  .  - 

LXXII.  Sage  bands  for  the  dancers    ----- 

LXXIII.  Sage  bands  for  the  dancers  .  .  .  . 

LXXIV.  Intrusive  ceremonies  ------ 

LXXV.  Initiation  of  new  chiefs     ----- 

LXXVI.  Inauguration  of  new  chiefs     ----- 

LXXVII.  Name-changing  ceremony  -  -  -  . 

LXXVIII.  Scene  outside  Offerings-lodge  .  -  .  - 

LXXIX.  The  feast    -  -  -  - 

LXXX.  The  making  of  sage  wreaths  at  the  beginning  of  the  dance 

LXXXI.  The  dancers  resting 

LXXXII.  Arapaho  children        -..--. 

LXXXIII.  A  Dog-soldier 

LXXXIV.  Priests,  after  painting  the  dancers    -  -  -  - 

LXXXV.  Priests,  after  painting  the  dancers 

LXXXVI.  The  line  of  dancers      ------ 

LXXXVII.  The  line  of  dancers  -  -  -  -  - 

LXXXVIII.  The  line  of  dancers 

LXXXIX.  The  line  of  dancers 

XC.  Dancing  with  the  Wheel        -  -  -  -  - 

XCI.  Dancers  bathing    ------ 


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XII 


Illustrations. 


Plate 

XCII.  Dancers  resting,  after  being  painted 

XCIII.  Incidents  of  the  dance      .... 

XCIV.  Incidents  of  the  dance  -  .  .  . 

XCV.  Incidents  of  the  dance  ... 

XCVI.  Incidents  of  the  dance  .  .  .  . 

XCVII.  Ceremony  with  the  Wheel 

XCV  1 1 1.  Dancing  with  the  Wheel        .  -  .  . 

XCIX.  Priests  on  their  way  to  preparing  the  sweet-water 

C.  Sunset  dance    ---.-. 

CI.  Badger-pack  unwrapped  -  -  .  - 

CII.  Smoking  the  straight-pipe      .  .  .  . 

cm.  The  ceremonial  Wheel  returned 

CIV.  Sacrifice  of  clothing    -  -  •         - 

CV.  The  altar  after  the  sacrifice  - 

CVI.  The  center-pole  after  the  sacrifices  - 

CVII.  The  altar  after  the  sacrifice 

CVIII.  The  Offerings-lodge,  after  the  ceremony     - 

CIX.  Dog-soldier  rites    ----- 

ex.  Lodge-Maker's  paint  -  -  .  -  . 

CXI.  Lodge-Maker's  paint,  1901 

CXII.  Dancers,  igoi   ----- 

CXI  1 1.  Henienit,  wearing  Pink-Calf  paint 

CXIV.  Dancers,  1901  ..---- 

CXV.  The  Pink-Calf  paint  and  the  Pink  paint 

CXVI.  Dancers,  1901  ----- 

CXVII.  Yellow-Earth  paint  and  Yellow  paint  (first) 

CXVIII.  Yellow  paint  (second)  .  -  . 

CXIX.  Lodge-Makers,  1902  .... 

CXX.  Lodge-Maker's  paint,  1902     ... 

CXXI.  Dancers,  1902         -  .  .  .  . 

CXXII.  Dancers,  1902  .  -  -  -  - 

CXXIII.  Dancers,  1902         .  .  .  -  . 

CXXIV.  Dancers,  1902  -  ...  - 

CXXV.  Dancer,  1902  .  .  .  .  . 

CXXVI.  Dancers 

CXXV  1 1.  Dancers 

CXXV  1 1 1.  Dancer,  1902 

CXXIX.  Mixed  paints,  1902  -  .  .  . 

CXXX.  Yellowhammer  paint  -  -  -  - 

CXXXI.  Second  Yellowhammer  paint       ... 

CXXXII.  Yellowhammer  paint  -  -  -  - 

CXXXIII.  Yellowhammer  paint         .  .  .  - 

CXXX  IV.  Dancer,  1902 

CXXXV.  Dancer,  1902  -  -  -  -  - 

CXXXVI.  Dancer,  1902    -  -  -  -  - 

CXXXVII.  Circular  or  Thunder  paint  ... 


Page 


INTRODUCTORY   NOTE. 

Of  all  the  ceremonies  of  the  Plains  Indians  that  of  the  so-called 
"Sun  Dance"  is  probably  the  most  famous,  but  the  least  understood. 
On  account  of  the  large  number  of  tribes  which  performed  the  Sun 
Dance,  the  wide  distribution  of  these  tribes,  and  the  popularity  of  the 
Sun  Dance  itself,  it  has  probably  been  witnessed  by  more  people  than 
has  any  other  ceremony  of  the  Indians  of  the  United  States.  The 
amount  of  misconception  which  prevails  concerning  the  ceremony, 
however,  is  very  great,  and  there  ex'isted  for  many  years,  especially 
on  the  part  of  the  United  States  Indian  Office  and  its  agents,  a  feeling 
of  hostility  toward  the  Sun  Dance.  The  character  of  this  hostility,  as 
well  as  the  ignorance  of  the  true  meaning  of  the  ceremony,  may  be 
seen  from  the  following  citations,  taken  almost  at  random  from  the 
Agents'  letters  printed  in  the  Annual  Reports  of  the  Commissioner  of 
Indian  Affairs: 

"The  traditional  'sun  dance,'  with  its  attendant  tortures,  in  which 
the  cruel  ordeal  through  which  the  candidate  who  aspires  to  be  a 
'brave'  must  pass,  is  still  practiced  among  the  Indians."  Jacob 
Kauffman,  Agent  Fort  Berthold,  Annual  Report,  1880,  p.  33. 

"No  'sun  dance'  (the  most  barbarous  of  all  Indian  dances)  was 
held  or  attempted  this  year."  W.  Parkhurst,  Agent  Lower  Brule, 
Annual  Report,  1882,  p.  32. 

"Dancing  is  diminishing,  and  the  heathenish  annual  ceremony, 
termed  'the  sun  dance,'  will,  I  trust,  from  the  way  it  is  losing  ground, 
be  soon  a  thing  of  the  past."  V.  T.  McGillicuddy,  Agent  Pine  Ridge, 
Annual  Report,  1882,  p.  39. 

"The  barbarous  festival  known  as  the  'sun  dance'  has  lost 
ground."     James  G.  Wright,  Agent  Rosebud,  Annual   Report,  1883, 

P-  43- 

"They  have  also  made  great  progress  in  abandoning  many  of  their 
old  customs,  noticeably  that  of  the  sun  dance,  which  for  the  first  time 
in  the  history  of  the  Ogalala  Sioux  and  Northern  Cheyennes  was  not 
held.  The  abandonment  of  such  a  barbarous,  demoralizing  ceremony, 
antagonistic  to  civilization  and  progress "  V.  T.  McGilli- 
cuddy, Agent  Pine  Ridge,  Annual  Report,  1884,  p.  37. 

"The  aboriginal  and  barbarous  festival  of  the  sun  dance " 

James  G.  Wright,  Agent  Rosebud,  Annual  Report,  1886,  p.  32. 

Notwithstanding  the  importance  as  well  as  the  popular  nature  of 


3  Introductory  Note. 

the  Sun  Dance  as  a  spectacle,  it  has  received  but  scant  attention  at 
the  hands  of  ethnologists,  and  apart  from  Catlin's  interesting  account 
of  the  ceremony  among  the  Mandans,  Bushotter's  brief  statement  of 
the  Sioux  Sun  Dance,  quoted  by  Dorsey,  and  Miss  Fletcher's  brief 
notice  of  the  ceremony  of  the  Oglala  Sioux,  there  is  very  little  infor- 
mation in  print  on  the  subject. 

As  to  the  number  of  tribes  which  performed  this  ceremony  in 
former  times,  I  have  not  been  able  to  learn.  It  is  known,  however, 
that  the  ceremony  was  held  by  nearly  all  the  Plains  tribes  of  the  Siouan 
stock,  excepting  the  Winnebago  and  the  Osage.  Among  tribes  of  the 
Algonquian  stock  it  seems  to  have  been  confined  to  the  Blackfeet, 
Cheyenne,  and  Arapaho.  It  has  also  long  been  one  of  the  most  impor- 
tant ceremonies  of  the  Kiowa,  and  was  formerly  given  by  the  Pawnee. 
It  is  also  performed  by  the  Shoshoni  of  the  Wind  River  Reservation 
of  Wyoming,  and  the  Utes  of  Utah.  So  far  as  I  am  able  to  learn,  the 
ceremony  has  never  been  given  by  any  of  the  tribes  of  the  Caddoan 
stock,  except  the  Pawnee. 

From  this  general  statement  as  to  the  tribes  which  performed  the 
dance,  it  will  be  readily  seen  that  it  is  essentially  a  ceremony  of  the 
Plains  Indians.  This  accounts  for  the  fact  that  the  ceremony  is  not 
performed  by  the  Osage  or  by  the  Winnebago,  who,  properly  speaking, 
are  not  Plains  Indians.  The  majority  of  the  tribes  ceased  the  per- 
formance of  the  Sun  Dance  ceremony  between  1885  and  1890,  although 
a  few  of  the  more  conservative  tribes  still  retain  the  ceremony  when 
its  performance  is  not  prohibited  by  force. 

For  reasons  which  may  be  seen  in  later  pages  of  this  paper,  the 
Sun  Dance  is  given  up  only  with  the  greatest  reluctance  by  a  tribe. 
Of  course  several  tribes  have  progressed  to  such  an  extent  that  they 
no  longer  believe  in  the  religion  of  their  ancestors,  and  with  such,  the 
Sun  Dance  died  a  natural  death.  With  the  more  conservative  tribes, 
however,  such  as  the  Blackfeet,  Cheyenne,  Arapaho,  and  Ponca,  it 
seems  that  the  Sun  Dance,  unless  prohibited  by  force,  will  survive  for 
several  years.  That  the  time  is  soon  coming,  however,  when  the  cere- 
mony will  be  no  longer  given  by  any  tribe,  there  is  no  doubt. 

It  is  owing  largely  to  the  liberal  spirit  of  Major  Stouch,  United 
States  Indian  Agent  at  Darlington,  that  the  Cheyenne  and  Arapaho 
were  permitted  to  perform  the  ceremony  in  1901.  I  had  been  informed 
by  letter  that  the  Cheyenne  ceremony  was  to  be  performed  in  June, 
and  visited  Oklahoma  for  the  purpose  of  witnessing  it.  Upon  my 
arrival  at  the  agency,  however,  I  found  it  had  been  postponed.  I 
again  visited  the  reservation  in  August,  when  the  ceremony  was  per- 
formed.     I   learned   at   that   time  that  an  Arapaho   by  the   name  of 


Introductory  Note.  3 

Thihduchhawkan  (Straight-Crazy)  had  "pledged"  the  ceremony  for 
his  tribe,  and  asked  that  I  be  notified  of  the  date  as  soon  as  the  time 
of  the  ceremony  should  be  determined.  This  information  was  sent  to 
me  at  the  request  of  an  Arapaho  Sun  Dance  priest,  and  I  again  visited 
the  reservation  in  December,  arriving  on  the  fifth,  and  remaining  until 
the  conclusion  of  the  ceremony. 

Immediately  after  the  ceremony  I  returned  to  Chicago,  taking 
with  me,  Ilawkan  (Crazy),  director  of  the  ceremony,  and  Cleaver 
Warden,  interpreter.  With  Hawkan  I  spent  two  weeks,  going  over 
the  details  of  the  ceremony,  inquiring  especially  into  the  symbolism. 
From  him  I  learned  also  the  sequence  of  events  which  transpired  on 
the  two  days  previous  to  my  arrival  at  the  camp. 

Learning  that  the  ceremony  was  to  be  performed  also  in  1902,  I 
went  to  Oklahoma,  arriving  at  the  camping  ground  on  the  morning 
following  the  announcement,  and  remained  at  the  scene  of  the  dance 
until  the  evening  of  the  last  day.  I  was  thus  enabled  to  observe  the 
performances  on  two  days  not  witnessed  by  me  in  1901.  During  these 
two  days,  and  in  fact,  throughout  the  entire  ceremony  of  1902,  I  made 
extended  notes,  and  obtained  much  information,  supplementary  to  my 
observations  of  the  preceding  year. 

The  narrative  of  the  ceremony  contained  in  the  following  pages  is 
based  on  the  performance  of  1901.  Many  observations,  and  additional 
information  gathered  during  the  subsequent  year,  however,  have  been 
added. 

The  performance  of  the  ceremony  for  the  two  years  was,  as  might 
be  expected  from  the  fact  that  the  more  important  personages  of  the 
ceremony  were  the  same,  in  every  essential  respect,  similar.  The 
performance  of  1902,  however,  was  much  more  spirited  than  that  of 
the  previous  year.  This  was  probably  due  to  three  reasons:  In  the 
first  place,  two  or  three  days  of  extreme  cold  weather  during  the  per- 
formance of  1901,  owing  to  the  lateness  of  the  season,  had  a  tendency 
to  cause  the  priests  to  hurry  in  their  operations,  especially  as  the  hours 
of  daylight  were  few.  In  the  second  place,  there  was  considerable 
uneasiness  in  1901  on  the  part  of  the  Indians,  lest  the  performance 'be 
interfered  with  by  the  agent.  This  fear,  of  course,  was  entirely 
groundless,  but  it  had  its  effect  in  hastening  the  ceremony.  In  the 
third  place,  the  number  of  participants  in  the  performance  of  1902  was 
considerable  larger  than  that  of  the  preceding  year,  and  this  of  course 
added  much  to  the  enthusiasm  of  the  occasion.  In  fact,  the  Arapaho 
themselves  declared  that  they  did  not  remember  having  had  a  Sun 
Dance  which  was  entered  into  with  so  much  enthusiasm  and  happiness 
by  the  whole  tribe  as  the  one  held   in  1902.      Indeed  the  spirit  shown 


4  Introductory  Note. 

on  the  part  of  all  during  this  occasion  was  of  the  very  best,  and  it  is 
impossible  to  conceive  of  a  tribe  of  Indians  offering  an  eight-day  cere- 
mony with  less  friction  and  with  a  greater  amount  of  religious  fervor 
and  happiness  than  was  manifested  throughout  the  ceremony  of  this 
year. 

During  the  visit  at  the  camp,  on  both  years,  every  consideration 
was  shown  me  by  those  conducting  the  ceremony,  and  I  was  permitted 
to  witness  the  secret  as  well  as  the  public  rites,  without  interference. 

It  is  with  much  pleasure  that  I  make  acknowledgement  of  my 
sincere  thanks  to  Hawkan,  H6cheni  (Old-Crow),  Watangaa  (Black- 
Coyote),  and  other  priests,  as  well  as  to  the  active  participants  in  the 
dance  and  to  the  entire  Arapaho  nation,  for  their  unfailing  courtesy 
in  connection  with  the  ceremonies,  and  for  the  spirit  of  friendliness 
and  hospitality  which  was  shown  me  during  my  two  visits  at  the  camp. 
It  is  a  pleasure  also  to  record  my  indebtedness  to  Cleaver  Warden, 
who  performed  the  office  of  interpreter  in  a  most  conscientious  and 
satisfactory  manner.  I  am  glad  to  have  this  opportunity  to  make 
public  acknowledgement  also  of  indebtedness  to  the  Chicago,  Rock 
Island  and  Pacific  Railroad,  for  courtesies  extended  me  on  this  and 
other  visits  to  the  tribes  of  western  Oklahoma. 

George  A.   Dorsey. 
June,  1903. 


I.— Bibliography. 

Fletcher,  Alice  C.  The  Sun  Dance  of  the  Ogellalla  Sioux.  Proc. 
A.  A.  A.  S.,  Vol.  31,  1882,  pp.  580-4.  Character;  time  of;  consecrating  tent; 
vows;  interval;  center-pole;  piercing  of  ears;  altar,  dance;  scarification. 

Pond,  Gideon  H.  Dakota  Sun  Dance.  Minn.  Hist.  Coll.,  Vol.  II.,  pp.  234-8. 
Vow;  lodge;  torture;  time;  songs;  torture  (quoting  from  a  letter  of  Major 
•  General  Curtis). 

Lynd,  James  W.     Minn.  Hist.  Coll.,  Vol.  II.,  pp.  166-7.    Dancing;  self-sacrifice. 

Dorsey,  J.  Owen.  A  Study  of  the  Siouan  Cults.  Report  Bureau  of  Eth- 
nology, Vol.  II.  The  Sun  Dance,  pp.  450-467.  Object;  rules  of  households; 
tribes  invited;  discipline;  camping  circle;  mystery  tree;  tent  of  preparation; 
raising  sun  pole;  lodge;  uncita  decoration  and  offerings  of  candidates;  dance 
proper;  end  of  dance;  intrusive  dances. 

BouRKE,  John  G.    Quoted  by  Dorsey  in  above,  pp.  464-6. 

Catlin,  George.  Okeepa:  A  Religious  Ceremony;  and  Other  Customs 
OF  THE  Mandans.  Philadelphia,  1867.  An  interesting  and  early  account  of 
the  Mandan  Sun  Dance,  illustrated  with  several  colored  plates. 


II.— The  Vow. 

The  ceremony  of  the  Sun  Dance  is  performed  in  compliance  with 
a  vow,  generally  made  during  winter,  but  which  may  be  made,  how- 
ever, at  other  seasons  of  the  year.  The  vow  is  in  the  nature  of  a 
pledge,  that  the  speaker  will  make  provision  for  the  erection  of  the 
lodge  and  for  the  proper  performance  of  the  ceremony  if  the  Man- 
Above  will  grant  him  his  wish  in  regard  to  some  particular  matter. 

The  occasion  for  such  vows  evidently  differed  among  the  tribes 
giving  the  Sun  Dance.  Among  the  reasons  given  by  Hdwkan,  a  priest 
in  the  Arapaho  ceremony,  were  the  following:  sickness  in  case  of  self 
or  of  any  member  of  the  family,  lunacy,  dreams,  etc.  These  causes 
for  the  taking  of  the  pledge  have  been  the  predominating  ones  in  com- 
paratively recent  times,  but  often  in  former  times  an  individual  would 
pledge  the  Sun  Dance  for  safety  when  sorely  pressed  on  the  war-path. 
Again  an  individual  might  behold  in  a  vision  or  series  of  visions,  the 
Offerings-lodge,  and  these  visions  would  continue  till  he  or  she  felt 
compelled  to  vow  to  make  the  lodge. 

STORY  OF  A  WOMAN'S  VOW. 

To  illustrate  the  way  in  which  a  vow  may  be  made,  the  following 
story  was  related  by  Hdwkan :  An   Arapaho  and  his  wife  went  out  to 

5 


6  Field  Columbian  Museum — Anthropology,  Vol.  IV. 

get  berries,  when  they  were  attacked  by  a  band  of  Utes.  The  woman 
was  captured;  the  man  made  his  escape.  This  woman  was  very  hand- 
some and  had  a  brother  who  had  always  been  very  fond  of  her,  and 
even  after  her  marriage  he  constantly  thought  of  her.  The  party  of 
Utes  soon  returned  to  their  home  taking  with  them  their  captive.  The 
Ute  who  actually  made  the  capture  had  a  wife  at  home,  but  in  spite  of 
this  fact  took  the  captive  Arapaho  woman  as  a  second  wife.  Time 
passed  on  and  she  learned  the  language  and  customs  of  the  Utes  and 
finally  became  very  much  attached  to  the  mother  of  the  Ute's  first 
wife. 

The  first  wife  naturally  was  jealous  of  the  Arapaho  woman,  and 
abused  her  constantly,  and  would  even  order  her  out  of  the  tipi,  at 
times.  On  account  of  the  great  beauty  of  the  Arapaho  woman,  how- 
ever, and  the  love  which  she  bore  the  mother  of  the  Ute's  first  wife, 
she  was  retained  in  the  tipi  with  her  husband  and,  as  a  rule,  when 
both  wives  were  present  there  was  constant  quarreling,  which  gener- 
ally ended  by  the  husband  asking  the  Arapaho  woman  to  go  to  the  tipi 
of  the  mother  of  the  first  wife.  This  happened  many  times.  The 
old  Ute  woman  took  pity  on  the  Arapaho  woman,  and  said  to  her: 
"Now,  my  girl,  since  you  often  go  out  with  your  husband  to  help  him 
with  the  horses  you  know  the  gentle  horses  and  those  which  can  run 
fast,  and  you  know  the  country.  You  are  a  woman  of  strong  will,  and 
1  am  going  to  tell  you  how  to  get  away  from  here. " 

The  Arapaho  woman  thought  over  these  words  many  times,  and 
began  to  think  very  often  of  her  old  home.  One  day  the  old  Ute 
woman  said  to  her:  "I  shall  help  you  to  gather  food,  saddle,  bridle, 
robe,  etc.,  and  have  them  in  a  place  where  nobody  will  find  them. 
You  go  over  to  your  husband's  lodge  and  make  yourself  agreeable." 
The  Arapaho  woman  did  as  she  was  told,  while  the  old  Ute  mother 
made  the  necessary  preparations  for  the  journey. 

Finally  the  time  came  and  the  old  woman  got  up  a  feast.  She 
cooked  the  food  for  the  journey  and  told  her  daughter  to  tell  her 
husband  to  invite  his  men  friends  for  a  feast,  so  that  they  might 
smoke  the  pipe  and  tell  stories.  The  Arapaho  woman  helped  in  the 
preparations.  The  husband,  through  a  crier,  at  the  appointed  time, 
invited  the  warriors  of  the  neighboring  lodges  to  come  to  his  tipi. 
After  they  had  arrived  and  were  seated,  the  husband  told  his  second 
wife,  the  Arapaho  woman,  to  go  to  the  lodge  of  the  mother  of  his  first 
wife,  where  the  food  had  been  prepared. 

Now  the  Arapaho  woman  had  that  day  been  with  her  husband  to 
water  the  ponies,  and  she  knew,  therefore,  where  they  were  to  be 
found.     She  went  to  the  lodge  of  the  old  woman,  and  at  her  command 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  7 

quickly  ate  as  much  as  she  could,  while  the  old  woman  was  carrying 
the  food  into  the  lodge  of  the  husband.  Then  the  old  woman  said: 
"Now,  my  girl,  while  my  daughter  and  I  are  serving  the  food  to  the 
guests,  you  take  this  food,  this  bridle,  blanket,  robe,  etc.,  go  straight 
to  the  herd,  catch  the  fastest  pony  and  set  out  for  your  home." 

The  Arapaho  woman  regretfully  left  the  old  Ute  woman,  who  had 
been  very  kind  to  her,  went  to  the  herd,  selected  the  fastest  horse, 
bridled  it,  and  making  ready,  started  off  in  the  direction  she  believed 
was  her  home.     She  traveled  all  that  night  and  the  next  day  and  night. 

Of  course  her  disappearance  was  soon  noted,  and  the  first  wife 
informed  her  husband  of  the  disappearance  of  the  Arapaho  woman. 
Search  was  made  for  her  that  night,  but  only  in  the  lodges  of  the 
camp,  for  it  was  not  suspected  that  she  had  escaped  on  horseback. 
In  the  morning  it  was  known  that  this  had  been  her  method  of  e'scape, 
and  they  began  to  search  for  her.  That  day  they  found  her  trail,  but 
were  not  able  to  overtake  her. 

In  the  mean  time  the  Arapaho  woman  had  hastened  onward,  but 
in  her  excitement  she  ran  into  a  white  pioneer  with  a  team  and  wagon. 
The  man  was  alone.  He  neither  knew  her  trouble  nor  the  cause  of 
her  flight,  but  took  pity  on  her  and  took  care  of  her.  Then  they 
turned  loose  the  Ute  horse  so  that  if  the  Utes  overtook  them  they 
could  not  be  recognized  by  the  horse.  The  Arapaho  woman  then  took 
a  place  inside  the  wagon.  In  the  mean  time  the  Utes  kept  up  the 
search,  but  the  pioneer  and  his  companion  plodded  along  toward  the 
country  where  it  was  believed  the  Arapaho  were  encamped. 

While  still  in  the  midst  of  great  peril  of  being  overtaken,  so  great 
was  her  desire  to  regain  her  relations  and  friends,  the  Arapaho  woman 
made  a  vow,  saying  that  since  she  was  in  great  danger,  her  brother, 
who  was  at  home  and  dearly  loved  her,  would  erect  the  Offerings- 
lodge,  if  she  reached  home  in  safety. 

The  two  continued  on  in  the  wagon  and  finally  reached  the 
Arapaho  camp.  There  she  soon  after  married  the  white  man,  the 
union  being  suggested  by  her  brother,  who  thought  that  she  should 
thus  show  her  great  gratitude  to  the  poor  white  man  for  having  saved 
her.  This  white  man  was  Henry  North,  who  died  in  1879,  ^^^  ^ho 
left  a  son  and  two  daughters.  The  performance  of  the  ceremony  was 
undertaken  by  the  woman's  brother,  who  was  glad  to  respect  her  vow. 

That  the  Offerings-lodge  vow  is  ever  made  during  a  storm  on 
account  of  imminent  danger  from  lightning,  according  to  my  inform- 
ant, never  occurs  among  the  Arapaho,  although  such  a  vow  is  not 
uncommon  among  other  tribes.  The  vow  is  generally  made  to  Man- 
Above,  Sun,  Moon,  and  Thunderbird.     When  an  individual  has  made 


8  Field  Columbian  Museum — Anthropology,  Vol.  IV. 

a  vow  it  is  said  that  "hathahiithassehawu"  (he  selects  of  the  Offer- 
ings-lodge), the  ceremony  itself  being  known  as  "hassehawu"  (of  the 
Offerings-lodge). 


STORY  OF  THIHAUCHHAWKAN'S  VOW. 

The  occasion  for  the  actual  Sun  Dance  under  consideration  in  the 
following  pages  was  a  vow  made  by  a  man  named  Thihauchhawkan,  a 
man  of  about  forty  years  of  age,  and,  as  related  to  me  by  one  of  his 
friends,  was  as  follows:  In  the  autumn  of  1900,  for  reasons  which  I 
was  not  able  to  learn,  the  mind  of  Thihduchhawkan  became  unsettled, 
and  he  attempted  to  commit  suicide.  On  being  asked  why  he  wished 
to  commit  suicide  he  gave  no  reason;  nor  has  it  ever  been  known  by 
the  tribe  why  he  desired  to  take  this  step,  inasmuch  as  his  married 
life  and  his  relations  with  the  tribe  were  believed  to  be  pleasant. 

After  his  mind  had  returned  to  a  more  normal  condition,  he 
informed  his  friends  that  some  evil  spirit,  the  exact  nature  of  which 
he  did  not  know,  whether  man  or  animal,  was  troubling  him,  from 
time  to  time,  when  he  would  wander  away  from  home.  When  Thihiuch- 
hdwkan  finally  became  conscious  of  his  lamentable  condition,  he  made 
a  vow  that  he  would  "select  the  Offerings-lodge."  The  time  of  this 
vow  was  during  a  reunion  of  a  small  band  of  Arapaho  at  Red  Hills, 
in  October.  First,  he  only  spoke  of  his  desire  to  make  the  vow,  but 
did  not  wish  to  assume  such  an  important  step  without  due  consider- 
ation. It  should  also  be  noted  that  some  time  previous  to  this  meet- 
ing at  Red  Hills,  Thihduchhawkan  had  made  a  secret  prayer,  and 
Man-Above  had  told  him  that  if  he  made  the  lodge  he  would  be  well. 
At  this  time  he  also  saw,  in  a  vision,  the  lodge  itself.  He  also  at  that 
time  prayed  openly:  "All  chiefs,  head  men,  people  of  the  Arapaho 
nation — I  pray  you  have  mercy  on  me,  that  hereafter  I  shall  prosper, 
that  my  tipi  will  last,  that  my  wife,  children,  and  friends  will  live  long, 
that  I  will  have  plenty  of  food,  clothes,  and  friends." 

The  news  of  this  open  appeal  to  the  Arapaho  people  naturally  had 
the  etfect  of  placing  them  in  sympathy  with  him,  and  many  offered 
secret  prayers  that  he  might  recover.  The  consequence  was  that  at 
the  Red  Hills  reunion  they  were  prepared  for  his  statement  that  he 
had  finally  made  up  his  mind  as  to  his  duty,  and  that  he  had  made  a 
pledge  to  perform  the  ceremony. 

It  appears  that  at  times,  the  mind  of  Thihduchhdwkan  was  much 
affected,  while  at  other  times  he  had  no  mental  suffering,  but  so  often 
were  these  recurring  periods  of  mental  depression  that  he  had  finally 
realized  that  he  could  not  get  out  of  his  trouble  without  pledging  the 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  9 

Sun  Dance;  and  this  idea  naturally  was  strengthened  by  the  words 
which  he  had  received  in  answer  to  his  prayer,  and  by  the  fact  that  in 
a  vision  he  had  seen  the  lodge. 

The  vow  itself  was  made  to  Chebbenlathan  (Man-Above).  To  him 
Thihduchhdwkan  addressed  himself: 

thihAuchhAwkan's  prayer. 

"For  the  general  good  of  my  tribe,  that  the  people  may  increase, 
that  there  may  be  no  more  sickness,  I  vow  to  have  performed  for  me 
the  ceremony  of  the  Offerings-lodge.  I  hope  that  you,  Man-Above, 
will  meet  my  desires  and  wishes  for  my  race  and  for  my  own  benefit, 
for  my  tipi,  my  wife  and  children.  I  pray  that  whatever  I  may  under- 
take to  do  hereafter  I  may  accomplish  it  to  my  best  interest!" 

On  the  conclusion  of  this  vow  or  prayer  by  Thihauchhdwkan, 
before  the  people  in  the  lodge,  all  said,  "Thanks!"  and  soon  after, 
it  was  known  throughout  the  tribe  that  this  man  had  pledged  the  cere- 
mony, each  individual,  as  he  received  the  news,  also  saying,  "Thanks!" 

Shortly  after  this,  Thihauchhdwkan  again  became  temporarily 
insane,  and  even  denied,  when  asked,  that  he  had  made  the  vow.  He 
was  in  the  habit  of  wandering  off  from  home,  and  traveling  about  from 
place  to  place,  without  blanket  and  in  a  naked,  unkempt  condition, 
neglecting  his  family.  This  condition  of  affairs  continued  until  July, 
when  his  mind  became  clearer  and  he  again  did  something  for  his 
family.  He  now  again  acknowledged  that  he  had  pledged  the 
ceremony. 

MINOR  VOWS  OF  DANCING  AND  FASTING. 

It  is  obvious  that  after  it  has  become  known  in  the  tribe  that  the 
ceremony  has  been  pledged  by  some  individual,  a  similar  vow  will  not 
be  taken  by  any  other  member  of  the  tribe.  The  feeling  for  the  neces- 
sity of  making  a  vow,  however,  may  still  prevail,  and  may  result  in 
the  pledge  to  participate  in  the  forthcoming  performance  by  fasting 
and  dancing.  Thus,  the  individual  making  the  secondary  vow  may 
be  sick,  or  his  wife  may  be  sick,  or  one  of  his  children,  or  he  may  have 
seen  himself,  in  a  vision,  dancing  in  the  lodge.  Having  made  the 
vow,  he  usually  informs  some  old  friend,  or  if  there  be  a  doctor 
present,  he  may  inform  him  that  he  will  fast.  These  minor  pledges 
are  made,  naturally,  usually  after  some  one  has  pledged  to  erect  the 
Offerings-lodge;  otherwise  he  will  pledge  himself  to  "wrap  the  wheel," 
to  give  a  feast  to  some  old  family  in  destitute  circumstances,  or  in 
some  other  way  to  do  penance.     This  phase  of  the  ceremony  gives 


lo         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

opportunity  for  many  who  are  not  able  to  provide  for  the  performance 
of  the  ceremony,  or  who  do  not  have  a  reason  sufficiently  weighty  to 
cause  them  to  pledge  the  ceremony  itself,  of  fulfilling  a  vow  by  taking  a 
minor  part  in  the  ceremony.  The  occasions  when  vows  of  this  nature 
are  made  do  not  differ  materially  from  those  already  enumerated  for 
the  taking  of  the  vow  to  give  the  ceremony  itself.  In  the  ceremony 
under  consideration,  ten  men  fasted  and  danced  in  accordance  with 
the  prescribed  forms,  and  so  far  as  I  have  been  able  to  learn,  all  sub- 
mitted to  the  ordeal  in  fulfillment  of  a  vow  made  during  sickness, 
either  of  the  individual  or  of  some  member  of  his  family. 

It  may  be  noted,  finally,  in  connection  with  the  ceremony  itself, 
that  it  may  not  be  considered  a  healing  ceremony;  nor  is  sickness 
believed  to  be  cured  by  the  performance  of  the  ceremony  as  is  the 
case  with  the  more  extended  Navaho  ceremonies.  The  healing  of  the 
sick,  therefore,  does  not  enter  into  the  consideration  of  the  mind  of 
the  individual  making  the  vow,  and  so  far  as  I  am  able  to  learn,  even 
though  the  vow  has  been  made  in  the  direct  form  of  a  promise  to  per- 
form the  ceremony  if  the  afflicted  regains  health,  the  performance  of 
the  ceremony  is  carried  on  just  the  same,  even  though  the  individual 
should  not  recccer.  I  have  been  informed,  however,  that  on  two  or 
three  occasions  the  individual  had  died  after  the  pledge;  no  other 
person  making  a  pledge  for  the  year,  the  ceremony  was  not  performed. 


I II.— Interval  Between  the  Vow  and  the 
Ceremony. 

Hdwkan  was  emphatic  in  his  statement  that  there  were  no  special 
rules  of  conduct  governing  the  movements  of  the  one  making  the 
vow,  who  for  convenience  may  hereafter  be  called  the  Lodge-Maker, 
of  the  Sun  Dance  ceremony,  during  the  interval  between  the  vow  itself 
and  the  actual  performance.  It  is  possible,  of  course,  that  formerly 
rules  were  observed  at  this  time  similar  to  those  among  the  Sioux,  as 
described  by  Bushotter.  Hdwkan  maintained,  however,  that  after  the 
vow  has  been  taken,  it  is  usual  for  the  Lodge-Maker  to  continue  his 
life  as  before,  living  with  his  wife  and  attending  to  his  routine  duties; 
nor  does  he  hesitate  to  engage  in  any  kind  of  work  or  to  enjoy  him- 
self with  his  people.  Should  he  desire,  he  invites  the  head  men  of  his 
own  society,  at  which  time  he  asks  the  co-operation  ot  the  members 
to  feel  in  accordance  with  him,  and  during  the  meeting  approaches 
them  one  by  one,  placing  his  hand  on  the  head,  weeps,  and  endeavors 
to  obtain  their  sympathy  and  support. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  ii 

As  the  time  draws  near,  the  head  men  of  the  different  societies 
invite  their  organizations  to  meet  at  some  locality,  where  a  feast  has 
been  prepared,  and  the  men  are  asked  to  prepare  their  clothing  and 
get  their  ponies  in  good  condition.  The  head  men  also  tell  the  young 
men  to  behave  themselves  during  the  interval,  warning  them  particu- 
larly not  to  violate  any  of  the  Agency  regulations. 

Shortly  after  Thihduchhdwkan's  return  to  reason,  in  July,  as  has 
already  been  noted,  he  began  asking  the  people  to  aid  him  in  his 
efforts  toward  preparation  for  the  coming  ceremony,  and  especially 
he  went  to  his  friends  for  advice  as  to  how  the  permission  of  the  Agent 
should  be  secured,  and  for  advice  concerning  the  direction  of  the  cere- 
mony itself.  He  was  finally  advised  by  some  of  his  friends  that  it 
would  be  better  for  him  to  leave  the  Arapaho  country  for  a  short  time, 
that  the  change  would  do  him  good,  and  that  in  the  mean  time  prepa- 
rations for  the  ceremony  would  be  undertaken  by  them.  Thihduch- 
hdwkan  consequently  left  Oklahoma  and  made  a  visit  to  the  Ute, 
returning  in  October. 

As  a  result  of  his  stay  among  the  Ute,  he  brought  home  with  him 
a  pony  and  a  few  things  presented  to  him  by  friends  in  that  tribe. 
His  mental  condition  had  greatly  improved.  He  now  made  a  feast 
and  formally  invited  the  Arapaho  and  the  Cheyenne  (for  the  two  tribes 
are  intimately  affiliated),  at  which  time  he  stated  that  he  was  anxious 
to  set  the  time  for  the  erection  of  the  lodge.  There  was  nothing  now 
to  interfere  with  the  ceremony  taking  place  at  this  time;  treaty  pay- 
ment, however,  was  soon  to  be  made,  at  which  time  the  entire  Arapaho 
tribe  would  visit  the  Agency,  and  as  the  reservation  covers  a  large 
area,  it  was  decided  to  postpone  the  ceremony  until  immediately  after 
the  treaty  payment,  which  would  thus  obviate  the  necessity  of  two 
journeys. 

The  head  men  of  the  Star  and  Thunderbird  societies  now  went  to 
Hdwkan,  who  as  will  be  shown  later  on,  has  officiated  in  many  Sun 
Dances,  and  asked  him  to  pity  the  Lodge-Maker  and  to  see  to  it  that 
there  was  no  unnecessary  delay.  They  then  went  to  Bech^aye 
(Hairy-Face,  wife  of  Old-Sun,  owner  of  the  straight  pipe);  to  Yahiise 
(Hiding-Woman),  or  Charlie  Campbell,  who  was  in  charge  of  the 
Wheel;  to  H6cheni  (Old-Crow),  one  of  two  sole  surviving  members  of 
the  Chinachine  society;  and  to  Chedthea  (Broken-Down-Woman),  the 
Peace-Keeper  and  of  all  these  they  asked  assistance.  Thihduchhawkan 
now  searched  the  plains  for  the  skull  of  a  buffalo,  while  one  of  his 
friends  undertook  to  secure  a  buffalo  hide.  The  Lodge-Maker  also 
visited  a  number  of  the  camps  of  the  Arapaho,  taking  with  him  a  pipe, 
which   he   smoked  with   the   chiefs  of  each   camp,  and   asking   their 


12         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

co-operation.  Couriers  of  the  Star  society  also  went  from  place  to 
place  announcing  the  ceremony,  and  asking  the  co-operation  of  all. 
The  Lodge-Maker  on  several  occasions  went  to  the  lodges  of  Hdwkan, 
Hdcheni,  and  other  leading  priests,  and  smoked  with  them. 

On  about  the  fifteenth  of  November,  a  meeting  was  -held  in  the 
lodge  of  Red-Wolf,  one  of  the  head  men  of  the  Star  society,  at  which 
time  the  Lodge-Maker  was  present,  together  with  Hawkan,  Bech^aye, 
Watangaa  (Black-Coyote),  and  other  chiefs.  A  feast  had  been  pro- 
vided by  Red-Wolf  for  Thihduchhdwkan  and  the  assembled  guests. 
Concerning  the  carrying  on  of  the  ceremony,  the  chiefs  conferred 
together,  and  addressed  the  head  men  of  the  Star  society,  telling  them 
their  duties  in  the  matter,  and  that  they  should  do  everything  to  assist 
their  brother,  the  Lodge-Maker.  The  reason  for  this,  of  course,  was 
the  fact  that  Thihduchhawakan  was  a  member  of  the  Star  society. 
Hdwkan  then  related  stories  of  former  ceremonies;  told  them  that  he 
felt  sympathy  for  the  Star  society  and  its  bereaved  brother,  that  he 
would  do  everything  in  his  power  to  assist.  Then,  turning  to  one  of 
the  head  men  of  the  Star  society,  he  told  him  to  visit  the  Keeper  of 
the  Wheel,  see  that  it  was  in  good  condition,  and  see  if  the  Keeper 
of  the  Wheel  still  had  in  his  possession  the  belt.  He  told  other  mem- 
bers of  the  Star  society,  assembled  by  him,  to  look  after  other  pieces 
of  paraphernalia  which  would  be  required  in  the  ceremony.  This 
concluded  the  work  of  the  evening,  and  the  gathering  broke  up,  with 
all  in  a  happy  frame  of  mind. 


IV.— The  Sacred  Wheel. 

This  object,  next  to  the  great  tribal  medicine,  the  flat  pipe,  in  the 
keeping  of  the  Northern  Arapaho,  is  the  most  sacred  possession  in  the 
tribe.  Inasmuch  as  it  plays  an  important  part  in  the  Sun  Dance  cere- 
mony and  as  it  is  used  in  other  ceremonies  as  well,  a  detailed  descrip- 
tion of  it  may  not  be  out  of  place  at  this  point: 

DESCRIPTION  OF  THE  WHEEL. 

The  object  (hehotti)  is  about  eighteen  inches  in  diameter  (see 
Plate  I.).  It  is  made  of  a  rectangular  piece  of  wood,  one  end  of  which 
tapers  like  the  tail  of  a  serpent,  the  other  being  rudely  fashioned  to 
represent  a  serpent's  head.  Near  the  head  of  the  serpent  are  several 
wrappings  of  blue  beads,  which  have  replaced  small  red  berries  which 
formerly  occupied  this  place.  At  four  opposite  sides  of  the  Wheel  are 
incised  designs,  two  of  them  being  in  the  form  of  crosses,  the  other 


Pl.  I,    The  Wheel. 


The  view  represents  the  Wheel  in  its  usual  position  in  the  Rabbit-tipi,  rest- 
ing upon  a  bunch  of  sage  in  a  forked  upright  stick.  Just  behind  the  Wheel  is 
Wcitanah;  to  the  left,  Hdwkan. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  13 

two  resembling  the  conventionalized  Thunderbird.  These  designs 
are  similar  to  those  found  on  gaming  wheels,  used  by  the  Arapaho  and 
other  Plains  tribes.  Attached  by  means  of  short  buckskin  thongs  are 
also  four  complete  sets  of  the  tail  feathers  of  an  eagle.  The  spacing 
of  these  feathers  is  not  now  uniform,  but  according  to  Hdwkan,  they 
should  have  been  grouped  in  equal  numbers  near  the  four  incised  mark- 
ings on  the  Wheel.  As  an  eagle  tail  has  twelve  feathers,  there  would  thus 
be,  in  all,  forty-eight  feathers  on  the  Wheel.  At  times,  however,  the 
Wheel  does  not  possess  such  a  large  number  of  eagle  tail  feathers,  but 
a  single  tail  is  divided  into  four,  and  there  are  thus  three  feathers  for 
each  marking.  It  may  be  noticed  in  Plate  XCVII.,  where  the  Wheel 
is  being  used  by  the  Lodge-Maker  of  the  ceremony,  that  the  feathers 
seem  to  be  confined  to  the  lower  side  of  the  Wheel.  This  is  due  to 
the  fact  that  they  have  settled  down,  owing  to  the  shaking  of  the 
Wheel  in  the  hands  of  the  Lodge-Maker.  The  feathers  on  the  Wheel 
at  the  present  time  number  twenty-four,  there  being,  thus,  two  eagle 
tails  represented  with  six  feathers  to  each  marking.  The  inside  of  the 
Wheel  is  painted  red,  while  the  outer  periphery  is  stained  black. 

SYMBOLISM  OF  THE  WHEEL. 

Concerning  the  symbolism  of  the  Wheel  a  considerable  amount  of 
information  was  obtained,  which,  however,  may  not  be  regarded  as 
complete,  or  as  entirely  satisfactory.  According  to  Hawkan  and  one 
or  two  other  authorities,  the  disc  itself  represents  the  sun,  while  the 
actual  band  of  wood  represents  a  tiny  water-snake,  called  "henigS," 
and  which  is  said  to  be  found  in  rivers,  in  lakes,  near  ponds,  and  in 
buffalo-wallows.  Later  in  the  ceremony,  this  lake  or  pool  of  sweet 
water  is  represented,  while  near  by  on  a  forked  stick,  is  the  owner  of 
the  pool,  a  little  bird.     Then  it  is  that  Young-Bull  drinks  of  the  water. 

This  serpent  is  said  to  be  the  most  harmless  of  all  snakes.  The 
Wheel  thus,  representing  this  snake,  has  a  derived  meaning,  and 
represents  the  water  which  surrounds  the  earth.  The  additional  idea 
was  also  put  forth  that  while  the  Wheel  represents  a  harmless  snake, 
all  snakes  are  powerful  to  charm,  and  hence  the  Wheel  is  a  sign  of 
gentleness  and  meekness.  The  blue  beads  around  the  neck  of  the 
snake  represent  the  sky  or  the  heavens,  which  are  clean  and  without 
blemish ;  the  color  blue  among  the  Arapaho  is  also  typical  of  friendship. 

THE  FOUR-OLD-MEN. 

The  four  inside  markings  (hltanni)  on  the  Wheel  represent  the 
Four-Old-Men  who  are  frequently  addressed  during  the  ceremony,  and 


14         Field  Columbian  Museum — Anthropology,  Vol.  IV, 

who  stand  watching  and  guarding  the  inhabitants  of  this  world.  The 
Four-Old-Men  may  also  be  called  the  gods  of  the  four  world  quarters, 
and  to  them  the  Sun  Dance  priest  often  makes  supplication  that  they 
may  live  to  a  great  age.  The  Four-Old-Men  are  also  spoken  of  as  the 
Thunderbird,  having  power  to  watch  the  inhabitants,  and  in  their 
keeping  is  the  direction  of  the  winds  of  the  earth.  They  therefore 
represent  the  living  element  of  all  people.  If  the  wind  blows  from  the 
north,  it  is  said  to  come  from  the  Old-Man-of-the-North,  who  controls 
the  wind  of  that  end  or  quarter  of  the  world.  Another  priest  states 
more  definitely  that  the  Four-Old-Men  are  Summer,  Winter,  Day,  and 
Night,  who  though  they  travel  in  single  file,  yet  are  considered  as 
occupying  the  four  cardinal  points.  Thus,  according  to  direction  and 
the  Arapaho  color  scheme.  Day  and  Summer  are  the  Southeast  and 
Southwest,  respectively,  and  are  black  in  color,  while  Winter  and  Night 
are  the  Northwest  and  Northeast,  respectively,  and  are  red  in  "color. 
Inasmuch  as  Sun  is  regarded  as  the  grandfather  of  the  Four-Old-Men, 
it  is  more  than  likely  that  the  Wheel  may  be  regarded  as  the  emblem 
of  the  Sun.  The  Four-Old-Men,  are  considered  as  ever-present,  ever- 
watching  sentinels,  always  alert  to  guard  the  people  from  harm  and 
injury.  The  same  word,  hitanni,  is  also  applied  to  certain  markings 
used  in  the  Old-Woman's  lodge,  the  meaning  of  which  is  given  vari- 
ously as  the  four  elements  of  life,  the  four  courses,  the  four  divides. 
Thus  it  is  said  that  when  one  traveling  the  trail  of  life' gets  over  the 
fourth  divide  he  has  reached  the  winter  of  old  age.  The  Morning 
Star  is  the  messenger  of  the  Four-Old-Men,  as  are  also  the  young  men 
during  ceremonies. 

The  four  clusters  of  feathers  also  represent  the  Four-Old-Men. 
The  feathers  collectively  represent  the  Thunderbird,  which  gives  rain, 
ana  they  therefore  represent  a  prayer  for  rain,  consequently  for 
vegetation. 

Concerning  the  symbolism  of  the  red  and  black  painting  of  the 
Wheel  it  will  suffice  here  to  say  that  the  red  is  typical  of  the  Arapaho, 
while  the  black  symbolizes  the  earth.  As  these  two  colors  enter 
prominently  into  the  symbolism  of  the  altar  and  of  the  lodge  itself, 
they  will  be  considered  at  greater  length  in  other  places. 

The  Wheel,  as  a  whole,  then,  may  be  said  to  be  symbolic  of  the 
Creation  of  the  world,  for  it  represents  the  sun,  earth,  the  sky,  the 
water,  and  the  wind.  In  the  great  Sun  Dance  dramatization  the  Wheel 
itself  is  represented  in  the  person  of  the  grandfather  of  the  Lodge- 
Maker,  or  the  "Transferrer"  as  he  is  called. 

Ordinarily,  the  Wheel,  enveloped  in  many  wrappings  of  calico, 
buckskin,  etc.,  is  suspended  upon  a  pole  or  tripod  at  the  back  of  the 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  15 

lodge  of  the  owner  or  Keeper,  who  at  the  present  time  is  Yahiise.  It 
is  his  duty  to  preserve  the  Wheel  inviolably  sacred,  protecting  it  from 
all  harm  and  violence.  The  Wheel  under  certain  circumstances  may 
be  unwrapped  from  time  to  time  by  the  Keeper.  This  is  usually  done 
at  the  instance  of  some  individual  who  has  made  a  vow,  that  if  the 
Man-Above  will  grant  him  his  desire  in  some  particular  respect,  he 
will  "wrap  the  Wheel."  These  vows  made  to  this  Wheel  differ  in  no 
essential  respect  from  those  made  for  fasting  in  the  Sun  Dance  cere- 
mony. Many  prefer  to  make  the  vow,  however,  to  the  Wheel,  as  the 
Wheel  may  be  wrapped  at  any  time  of  the  year,  and  as  it  involves  no 
personal  suffering  on  the  part  of  the  one  making  the  vow. 

At  the  time  of  the  ceremony  of  wrapping  the  Wheel  the  large 
bundle  is  brought  inside  the  tipi,  where  after  appropriate  performances 
and  songs,  the  bundle  is  opened,  exposing  the  Wheel,  when  prayers 
and  supplications  are  addressed  to  it.  Before  the  Wheel  is  wrapped, 
a  new  envelope  must  be  provided,  which  is  placed  next  to  the  Wheel. 
This  new  wrapper  must  be  furnished  by  the  one  making  the  vow, 
hence  the  term,  "wrap  the  Wheel."  In  keeping  of  the  Keeper  of  the 
sacred  bundle  containing  the  Wheel,  but  having  no  intrinsic  relation 
with  the  Wheel  itself,  is  a  belt,  already  mentioned,  and  which  was  to 
be  required  during  the  Sun  Dance  ceremony.  This  belt,  though  held 
in  high  veneration,  is  not  as  sacred  as  the  Wheel,  and  hence  may  be 
mislaid  or  destroyed.  Hence  the  suggestion  made  by  Hdwkan  to  one 
of  the  men  of  the  Star  society,  as  related  in  the,  previous  section,  to 
inquire  into  this  matter  and  see  if  the  belt  was  in  proper  condition. 
Opportunity  was  afforded  for  this  inquiry  on  the  night  following  the 
night  just  described,  when  the  Wheel  was  unwrapped  by  an  Arapaho 
named  Pawnee,  whose  wife  had  been  sick,  at  which  time  he  had 
pledged  himself  to  wrap  the  Wheel.  This  ceremony  was  performed 
on  this  night  in  the  lodge  of  Pawnee,  whq  had  furnished  the  cloth  for 
the  wrapping  of  the  Wheel  and  the  food  for  the  feast  accompanying 
the  ceremony.  It  was  then  found  that  the  belt  was  gone,  and  one  of 
the  head  men  of  the  Star  society  was  detailed  to  provide  another. 

WRAPPING   THE  WHEEL. 

During  the  1902  performance,  opportunity,  not  heretofore  offered, 
was  given  for  observing  the  method  of  "wrapping  the  Wheel,"  a 
description  of  which  may  not  be  out  of  place  at  this  point.  This 
ceremony  was  performed  no  less  than  four  times  after  the  erection  of 
the  Rabbit-tipi. 

On  the  evening  previous,  the  Wheel,  along  with  other  sacred  para- 


i6         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

phernalia,  had  been  carried  into  the  Rabbit-tipi  where  the  Wheel  had 
been  unwrapped,  and  suspended  upon  a  forked  stick  which  stood  just 
back  of  the  buffalo  skull,  on  the  west  side  of  the  tipi.  The  occasions 
for  wrapping  the  Wheel  this  day,  differed  in  each  instance,  two  per- 
forming the  ceremony  in  accordance  with  a  vow  made  in  connection 
with  a  sick  child;  another  as  a  supplication  that  he  might  wear  the 
Lodge-Maker's  paint  during  the  ceremony;  while  the  fourth  occasion 
was  on  account  of  a  family  trouble. 

As  a  description  of  a  single  wrapping'will  suffice,  we  will  take  this 
fourth  instance,  when  the  ceremony  was  performed  in  behalf  of 
Watdngaa  and  his  wife.  The  daughter  of  this  famous  Messiah  leader 
of  the  Arapaho  had  been  married  for  over  a  year  to  a  son  of  the 
equally  famous  Hocheni,  of  the  Arapaho.  Trouble  had  grown  up 
between  the  two  families  on  account  of  the  separation  of  the  young 
couple,  and  Watdngaa  and  his  wife  wished  to  have  removed  from  them 
whatever  discredit  might  attach  to  them  for  their  share  in  the  dispute 
between  the  two  families.  Having  given  notice  to  Hawkan,  therefore, 
that  he  wished  to  perform  the  ceremony,  he  was  seen,  at  about  ten 
o'clock  in  the  morning,  to  proceed  to  the  Rabbit-tipi  from  his  own 
tipi,  being  followed  across  the  camp-circle  by  a  number  of  women, 
friends  of  his  wife,  bearing  vessels  of  food.  Watdngaa  and  his  wife 
entered  the  lodge,  having  first  removed  their  moccasins,  and  took  a 
seat  next  to  the  door  on  the  north  side.  Food  was  then  passed  in  by 
the  women  outside,  the  first  vessel  being  placed  on  the  ground  at  the 
southwest  of  the  fireplace,  the  second  in  a  northwest  position,  the  third 
in  the  northeast,  the  fourth  in  the  southeast,  and  the  fifth  in  the  east 
position.  Additional  vessels  of  food  were  grouped  indiscriminately 
about  these  five.  There  were  already  assembled  in  the  lodge,  Hdwkan, 
Hocheni,  and  other  Sun  Dance  priests,  together  with  the  Lodge-Maker 
and  others  who  were  to  play  an  important  part  during  the  ceremony. 

On  entering,  Watdngaa  had  a  pipe  and  a  piece  of  calico,  about  a 
yard  in  length,  loosely  tied  at  one  corner  to  a  small  stick,  which  was 
placed  by  Debithe  (Cut-Nose),  just  south  of  the  skull,  and  by  the  side 
of  the  other  wrappings  of  the  Wheel.  Immediately  on  entering, 
Watdngaa  handed  the  pipe,  which  he  had  previously  filled  in  his  own 
tipi,  to  Debithe,  who  placed  it  in  a  vacant  space  just  in  front  of  the 
buffalo  skull  and  to  the  west  of  the  fireplace.  The  pipe  was  so  placed 
that  the  bowl  projected  upwards,  while  the  stem  pointed  to  the  sout^i. 
The  wife  of  Watdngaa  now  handed  a  bowl  of  meat  from  the  southeast 
corner  of  the  fireplace  to  Chanitoe  (Striking-Back),  who  took  up  the 
bowl  of  meat  and  placed  it  in  front  of  Debithe. 

Debithe  touched  the  forefinger  of  his  right  hand  to  the  ground, 


May,  1903.         The  Arapaho  Sun  Dance — Dorsev.  17 

and  then  to  the  tip  of  his  tongue.  He  then  bit  off  a  small  portion  of 
root,  upon  which  he  chewed  for  a  few  moments.  Then,  holding  the 
palms  of  his  two  hands  together  in  front  of  him,  he  spat  five  times, 
first  at  the  base  of  the  thumb  of  his  right  hand,  then  at  the  base  of  the 
thumb  uf  his  left  hand,  then  in  the  upper  and  outer  corner  of  his  right 
and  of  his  left  hand,  and  at  the  junction  of  the  base  of  the  two  little 
fingers.  This  action  of  ejecting  spittle  into  the  hands,  which  is  to  be 
mentioned  many  times  during  the  following  pages  of  this  paper,  is  said 
to  be  in  imitation  of  the  movements  of  a  skiink  while  charging  a  bear. 
He  then  rubbed  the  palms  of  his  hands  together,  drew  them  down 
each  side  of  his  head  and  body  and  over  his  body.  He  then  spat 
toward  the  food  bowl  four  times.  He  then  took  up  a  piece  of  meat, 
first  motioning  toward  the  bowl  five  times,  which  he  cut  into  five 
pieces. 

Watdngaa  now  arose  from  his  position  and  received  the  pieces 
from  the  hands  of  Debithe,  and  standing  in  the  southeast  corner  of 
the  lodge,  he  lifted  one  piece  aloof  with  his  right  hand  and  then 
deposited  it  on  the  ground  at  his  feet.  This  was  repeated  at  the 
bouthwest,  northwest,  and  northeast  corners  of  the  lodge,  and  then, 
passing  on  arOund  the  fireplace,  in  a  sunwise  circuit,  he  stepped  in 
front  of  the  buffalo  skull  and  Wheel  and.  rubbed  the  remaining  pieCe 
between  the  palms  of  his  hands,  which  he  now  passed  up  over  the 
skull,  toward  the  Wheel,  four  times,  and  then  deposited  the  offering 
under  the  jaw  of  the  skull.      He  then  resumed  his  position  by  the  door. 

Bech^aye  divided  the  food  into  as  many  portions  as  there  were 
persons  present,  and  passed  it  to  them.  In  doing  this,  she  was  care- 
ful to  follow  the  sun  circle,  beginning  with  the  individual  next  the 
door  on  the  south  and  terminating  with  the  individual  seated  just  back 
of  the  Wheel.  As  it  was  not  allowable  to  pass  food  in  front  of  the 
skull,  and  as  it  would  have  been  inconvenient  to  have  passed  food 
behind  the  skull  to  those  sitting  on  the  north  side  of  the  tipi,  she  passed 
food  for  the  remainder,  across  the  door,  first,  however,  giving  the 
vessel  a  circular  motion  from  right  to  left,  thus  imitating  the  sun 
circle.  The  remainder  of  the  feast,  together  with  the  empty  vessels, 
was  now  passed  to  the  attendants  awaiting  on  the  outside  of  the  lodge. 

Debithe  now  took  up  the  pipe,  which  had  been  brought  in  by 
Watangaa,  and  gave  it  to  Nishchanakati  (White-Eye-Antelope).  The 
latter,  holding  the  pipe  in  his  left  hand,  touched  the  tip  of  the  first 
finger  of  his  right  hand  to  the  ground  and  then  to  his  mouth ;  then, 
with  the  thumb  and  first  finger  of  this  hand,  he  sacrificed  a  pinch  of 
the  tobacco  upon  the  ground  in  front  of  him.  He  now  held  the  pipe 
in  both  hands,  so  that  the  bowl  was  uppermost,  and  pointed  the  stem 


i8         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

of  the  pipe  toward  the  southeast,  the  southwest,  the  northwest,  and 
the  northeast;  then,  reversing  the  pipe  so  that  the  stem  was  upper- 
most, he  pointed  the  stem  above,  and  then  to  the  ground. 

Watingaa  now  arose,  went  over  and  knelt  in  front  of  Nishchdna- 
kati.  With  his  right  hand  he  made  four  passes  toward  the  right  hand 
of  Nishchanakati,  who  held  the  pipe  in  front,  the  tip  of  the  stem  rest- 
ing on  the  ground.  With  the  fifth  motion,  Watdngaa  placed  his  hand 
over  Nishchdnakati's  hand.  His  left  hand  he  placed  on  Nishchdna- 
kati's  head.  In  this  position,  the  latter  slowly  motioned  the  pipe 
toward  Watdngaa  four  times,  whereupon,  Watdngaa  slowly  withdrew 
the  pipe  from  Nishchdnakati's  hand.  Watdngaa  lighted  the  pipe  with 
a  coal  by  the  side  of  the  fireplace,  and  returned  the  pipe  to  Nishchdna- 
kati,  who  gave  one  puff  to  each  of  the  southeast,  southwest,  north- 
west, and  northeast  points,  to  the  above  and  to  the  below,  and  then 
passed  the  pipe  to  the  man  on  his  right,  who  in  turn  passed  it  without 
smoking,  to  the  man  next  to  the  door,  on  the  south  side.  This  man 
now  puffed  on  the  pipe  several  times,  whereupon  it  traveled  entirely 
around  the  circuit,  until  it  reached  Watdngaa,  who  was  sitting  on  the 
north  side  of  the  door,  whereupon  it  was  passed  back  unsmoked,  to 
the  man  on  the  south  side  of  the  door,  when  it  again  made  the  circuit 
to  the  north  entrance,  being  smoked  by  each  individual.  This  per- 
formance was  repeated  in  all  four  times,  whereupon  the  pipe  was 
passed*  back,  unsmoked,  to  Nishchdnakati,  who  holding  it  in  his  left 
hand,  made  four  passes  with  the  tamper  toward  the  bowl,  then  tamped 
inside  the  southeast  corner  of  the  bowl,  then,  without  further  empty- 
ing, he  tamped  on  the  southwest,  then  northwest,  and  then  northeast 
corners,  and  then  in  the  middle.  The  loosened  ashes  were  then 
removed,  whereupon  he  again  tamped  the  pipe,  but  without  making 
the  passes  as  before.  The  pipe  was  tamped  and  emptied  twice  again 
— four  times  in  all.  Then  he  held  the  pipe  in  his  left  hand,  with  the 
point  of  the  stem  resting  upon  the  ashes,  and  with  his  right  hand  he 
rubbed  down  the  pipe  from  the  bowl  to  the  ashes.  This  operation  was 
repeated  three  additional  times,  the  pipe  being  transferred  from  one 
hand  to  the  other  each  time.  The  pipe  was  now  held  horizontally  in 
front  of  him,  with  bowl  <)ut  in  front,  and  was  rubbed  as  before  four 
times,  twice  with  each  hand.  Then  he  stood  the  pipe  in  front  of  him 
with  the  stem  upon  the  ashes,  whereupon  it  was  received  by  Watdngaa, 
who  finished  cleaning  the  pipe. 

Watdngaa  now  arose  from  his  position  as  before,  and  sat  down 
just  to  the  south  of  the  skull  and  the  wheel,  facing  the  east.  Debithe 
left  his  position  in  the  circle,  and  stepping  behind  Watdngaa,  lifted  the 
Wheel,  together  with  the  bunch  of  sage  upon  which  the  Wheel  rested, 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  19 

and  which  protected  it  from  the  fork  of  its  support,  and  holding  it  in 
his  right  hand,  he  slowly  passed  it  up  the  right  side  of  Watdngaa's 
body,  beginning  with  his  right  foot,  and  ending  with  his  head,  when 
he  held  it  out  in  front  of  him  at  arms'  length  and  gave  it  an  outward, 
jerking  motion,  as  though  he  were  endeavoring  to  cast  off  something 
from  the  feathers  of  the  Wheel.  He  then  passed  the  Wheel  behind 
him  to  his  left  hand  and  went  through  the  same  performance,  drawing 
the  feather  appendages  of  the  Wheel  up  the  left  side  of  Watdngaa's 
body,  and  again  cleansing  the  feathers.  The  same  operation  was 
again  repeated  for  the  right  side,  and  again  for  the  left,  passing  the 
Wheel  behind  his  body  as  before,  in  transferring  it  from  his  right  to 
his  left  hand.  The  Wheel  was  then  transferred  from  the  left  to  the 
right  hand,  passing  it  behind  him,  and  was  placed  under  the  arm  of 
Watdngaa,  who  gathered  the  feathers  up  under  his  arm  and  pressed 
them  to  his  body.  Debithe  then  passed  the  Wheel  behind  him  to  his 
left  hand  and  placed  it  under  Watdngaa's  left  arm.  This  operation 
was  also  repeated  again  under  the  right  arm,  and  then  under  the  left. 
Debithe  then  passed  the  Wheel  back  to  his  right  hand,  and  holding  it 
aloft,  made  a  circular  sunwise  motion  over  Watdngaa's  head  four 
times,  and  then  placed  the  Wheel  down  over  the  latter's  head,  the 
feathers  hanging  down  over  his  breast.  Watdngaa  then  clasped  the 
Wheel  with  both  arms  and  prayed  for  several  minutes.  Debithe  then 
removed  the  Wheel  from  his  head,  held  it  to  Watdngaa's  mouth,  who 
placed  his  lips  upon  the  beaded  part  four  times.  Watdngaa  now 
returned  to  his  original  position  at  the  north  of  the  door,  passing,  as 
he  did  so,  behind  all  those  on  the  north  side  of  the  circle. 

Watdngaa's  wife  then  took  up  a  position  similar  to  that  occupied 
recently  by  her  husband  at  the  south  of  the  Wheel,  when  Debithe 
performed  the  same  movements  over  her.  It  is  to  be  noted,  however, 
that  in  making  the  two  passes  over  each  side  of  her  body,  the  move- 
ment began  at  the  head  and  terminated  at  the  feet,  instead  of  begin- 
ning at  the  feet  and  terminating  at  the  head,  as  in  the  case  of  Watdngaa 
himself. 

Pipes  were  smoked  on  the  north  and  south  of  the  lodge,  the  pipe 
on  the  south  side  starting  at  the  east,  and  the  pipe  on  the  north  side 
of  the  lodge  starting  at  the  west,  each  pipe,  while  being  smoked, 
traveling  in  a  sunwise  circuit.  The  pipes  made  the  circuit  four  times. 
This  ended  the  purification  ceremony  of  Watdngaa  and  his  wife. 

A  man  by  the  name  of  Nishnat^yana  (Two-Babies),  grandfather 
of  the  Lodge-Maker  of  the  present  year,  now  entered  the  lodge  with 
his  wife,  Thiyeh  (Shave-Head),  bearing  in  his  arms  a  sick  child  and 
carrying  in  his  hand  a  filled  pipe  and  a  piece  of  calico,  similar  to  the 


20         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

one  brought  in  by  Watdngaa,  attached  to  a  slender  stick;  women 
friends  also  brought  food.  Stepping  in  front  of  Hdwkan  and  facing 
west,  he  lifted  his  right  hand  upward  and  prayed,  whereupon  he  passed 
the  pipe  and  calico  to  Hawkan.  The  pipe  was  placed  in  front  of  the 
skull  in  the  same  position  occupied  by  the  pipe  of  Watdngaa,  while  the 
calico  was  placed  just  at  the  south  of  the  bundle  of  wrappings  of 
the  Wheel. 

After  the  usual  offering  of  food,  the  partaking  of  the  feast,  and 
the  smoking  of  the  pipe,  the  lighting  of  which  at  this  time  was  done 
by  H6cheni,  Nishnat^yana,  holding  his  child  in  his  arms,  sat  south  of 
the  skull  and  the  movements  of  the  Wheel  were  made  over  him,  now, 
however,  by  Hawkan.  His  place  was  then  taken  by  his  wife,  and 
similar  movements  were  made  over  her. 

Hawkan  then  untied  the  two  pieces  of  calico  from  the  two  sticks 
and  held  them  together  at  arms'  length  in  his  two  hands.  The  Wheel 
had  in  the  mean  time  been  placed  in  position  upon  its  support. 
Watangaa  and  his  wife  and  Nishnat^yana,  with  his  wife  and  child, 
now  formed  in  line  behind  the  Wheel  and  the  calicoes  were  passed  in 
front  of  them  by  Hdwkan,  each  grasping  with  his  or  her  right  hand 
the  upper  edge  of  the  calicoes.  They  then  in  unison  held  the  calicoes 
over  the  Wheel,  and  each  uttered  a  prayer  in  a  low  voice.  They  now 
placed  the  calicoes  upon  and  around  the  Wheel — hence  the  expression, 
''wrapping  the  Wheel, " 

MIRACULOUS  MOVEMENTS  OF  THE  WH^EL. 

In  connection  with  the  veneration  of  the  Arapaho  for  this  Wheel 
the  following  two  short  tales,  obtained  from  Watanah  (Black-Horse), 
will  prove  interesting: 

"At  one  time  a  man  had  by  right  (of  inheritance)  this  Sun  Dance 
Wheel.  He  was  taken  sick  and  died.  The  people  were  still  on  the 
hunt  when  this  man  died.  When  the  camp  broke  up  to  change  its 
location,  the  people  tied  this  big  Wheel  to  a  tipi  pole  and  staked  it  in 
the  ground  over  the  grave. 

"A  party  of  young  men  happened  to  pass  by  the  grave;  they  saw 
the  pole  still  standing,  but  the  Wheel  was  gone.  They  went  to  the 
pole,  and  below  it,  on  the  ground,  were  bunches  of  blue  beads  and  four 
bunches  of  eagle  feathers,  all  lying  in  the  shape  of  the  Wheel.  The 
stick  representing  the  snake  was  gone.  This  stick  had  crawled  out  of 
its  attachments  of  feathers  and  beads  and  left  them  on  the  ground  in 
their  proper  positions,  the  same  as  you  would  see  the  scales  left  on  the 
ground  by  a  snake.     This  stick  does  not  represent  a  poisonous  reptile. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  21 

but  it  stands  for  those  little  snakes  which  are  found  by  the  edge  of 
the  water  in  ponds.  The  circumference  stick  stands  for  the  sun ;  the 
eagle  feathers  are  those  of  the  Thunderbird ;  the  blue  beads  stand  for 
the  sky  or  heaven;  and  the  marks  on  four  places  typify  the  Four-Old- 
Men,  being  wind;  they  are  the  sentinels  over  the  people  and  animals. 

"At  another  time,  a  man  who  had  the  Wheel  by  right,  died. 
When  he  was  buried,  the  Wheel  was  hung  over  his  grave  one  day. 
After  the  people  had  gone  away  from  it  and  were  moving  their  camp, 
this  Wheel  was  seen  flying  by  the  people,  and  it  lighted  in  front  of 
them.  Il  changed  to  an  eagle.  This  occurrence  made  them  think 
more  of  the  Wheel  than  ever,  and  they  reverenced  it." 

The  following  brief  statement  concerning  the  Wheel  among  the 
northern  Arapaho  is  also  not  without  interest. 

It  is  said  that  the  Wheel  escaped  from  the  people  by  flight.  After 
it  was  gone  for  some  time  an  Offerings-lodge  was  pledged  for,  but  it 
could  not  be  carried  out,  so  the  people,  old  and  young,  congregated 
to  see  if  it  could  be  made  like  the  original.  There  was  nobody  that 
could  tell  how  it  was  made,  until  finally  a  young  boy  moved  before  the 
crowd  and  directed  the  making  of  it. 

About  seven  years  ago,  one  of  Weasel-Bear's  daughters  went  out 
of  the  tipi  during  a  wind  storm  to  brace  a  pole  bearing  the  Wheel 
against  the  back  of  the  tipi.  As  she  was  lifting  the  pole  the  wind 
came  and  took  the  pole  and  Wheel  down  to  the  ground,  breaking  it 
slightly  across  the  center.  So  Weasel-Bear,  before  another  Sun  Dance 
was  pledged  for,  invited  all  the  old  men  and  <51d  women  to  gather 
together  to  renew  it.  The  Wheel  being  an  important  factor,  the  people 
gathered,  provided  the  necessary  food  and  brought  various  kinds  of 
young  standing  bushes. 

For  a  day  or  two,  the  men  could  not  bend  the  stick  of  wood  into 
a  perfect  circle.  Most  of  the  sticks  would  break,  but  men  kept  on 
trying  to  shape  the  bow  for  the  Wheel,  Finally,  a  young  man  brought 
in  a  long  stick  of  a  kind  of  wood  which  had  a  dark  red,  slippery  back, 
and  grows  very  tall,  standing  near  the  river  banks.  The  Indians  cut 
the  bushes  and  made  breastpins,  and  stake-pins  for  the  tipi,  and  bent 
it  into  a  perfect  circle.  The  men  who  were  present  expressed  their 
gratitude  to  the  young  man  for  his  luck  and  therefore  asked  more  food 
to  be  brought  in  for  him. 

While  this  man  was  making  or  carving  the  symbolic  features  of 
the  Four-Old-Men,  a  little  spider,  descending,  lighted  on  one  of  the 
markings  (monuments  of  the  old  men),  but  the  man  kept  himself  busy 
at  the  work,  at  the  same  time  offering  a  prayer  of  thanksgiving  to  the 
Father. 


23         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

v.— Time  of  the  Ceremony. 

So  far  as  I  have  been  able  to  learn,  there  is  no  set  time  for  the 
Sun  Dance  ceremony  among  the  Arapaho.  Hdwlcan,  my,  chief  inform- 
ant, was  emphatic  in  his  statement  that  the  actual  time  was  determined 
largely  by  convenience,  and  not  by  the  condition  of  the  moon,  or  by 
the  condition  of  vegetation.  The  usual  time  is  in  the  spring,  but  not 
until  after  the  grass  and  sage  have  reached  their  full  growth.  The 
ceremony  may,  however,  be  performed  in  the  fall,  or  as  late  even  as 
jearly  December,  as  was  the  case  in  the  ceremony  here  described. 
Apart  from  the  considerations  of  convenience,  the  actual  time  of  the 
formation  of  the  camp-circle  is  determined,  usually,  by  the  head  men 
of  the  company,  or  warrior  society  to  which  the  Lodge-Maker  belongs. 
This  general  statement  in  the  time  agrees  in  the  main  with  the  state- 
ment of  Dorsey  and  Miss  Fletcher. 

During  the  ceremony  of  1902,  certain  interesting  events  were 
noted  which  seemed  to  be  more  or  less  directly  concerned  with  the 
moon.  Further  inquiry  was  then  made  as  to  the  proper  time  of  the 
beginning  of  the  ceremony  and  the  information  was  volunteered  by 
one  of  the  priests  that  "the  proper  time  of  the  beginning  of  the  cere- 
mony was  from  seven  to  ten  days  after  new  moon  and  hence  an  equal 
number  of  days  after  the  menstrual  period.  The  Rabbit-tipi  priests 
set  this  time,  for  the  menses  are  unclean  and  a  source  of  bodily  injury 
to  the  people,  and  the  Sun  Dance-lodge  and  the  Rabbit-tipi  must  be 
kept  clean  from  all  impurities." 


VI. — Assemblage  and  Formation  of  the 
Camp-Circle. 

As  the  time  agreed  upon  for  the  formation  of  the  circle  draws 
nigh,  couriers  are  sent,  as  has  been  noted,  to  the  various  bands,  and 
the  tribe  begins  to  arrive  at  a  certain  spot  which  has  already  been 
agreed  upon  by  the*  head  men  of  the  Star  society,  i.  e.,  the  society  of 
the  Lodge-Maker.  These  head  men  have  not  only  selected  the  loca- 
tion of  the  camping  circle,  but  have  roughly  staked  out  the  circle,  so 
that  the  bands,  as  they  enter  the  plain,  proceed  to  the  erection  of  their 
lodges  without  delay.  As  each  band  arrives  at  the  site  of  the  circle 
they  are  met  by  those  already  on  the  spot,  with  singing  and  rejoicing, 
and  the  new  arrivals  before  settling  down,  go  around  the  circle,  on  the 
inside  first,  and  then  on  the  outside,  each  time  in  a  dextral  or  sunwise 


PL.  II.    Cheyenne  Tipis. 


These  tipis  show  typical  Cheyenne  ornamentation.  The  tip!  on  the  left  is  of 
additional  interest  on  account  of  the  door,  embroidered  in  parallel  colored  bands 
with  porcupine  quills. 


PL.  III.   Ghost  Dance  Tipis. 


Fig.  I.    Tipi  of  Mixed-Hair ;   the  symbolism   comprises  the  turtle,  horse, 
buffalo,  morning  star,  lightning,  and  cedar  trees. 

Fig.  2.    Tipi  of  His^haseh,  son-in-law  of  Watdngaa. 


.3!  >lT 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  23 

circuit.  The  reason  of  this  is  to  announce  their  presence  to  their 
friends,  who  may  have  already  arrived,  and  receive  their  greeting. 

The  site  chosen  by  the  Arapaho  for  the  ceremony  of  1901  was  a 
comparatively  level,  low-lying  plain  just  north  of  the  North  Fork  of 
the  Canadian  River,  about  six  miles  northeast  of  the  town  of  Geary. 
Between  the  site  of  the  camping  circle  and  the  river  was  a  beautiful 
grove  of  Cottonwood  and  willow,  while  the  neighboring  hills  furnished 
an  abundant  pasturage  for  the  horses. 

After  the  great  circle,  three-quarters  of  a  mile  in  diameter,  has 
been  partially  occupied  it  made  a  very  pleasing  sight,  to  which  incom- 
ing bands  make  their  passage  inside  and  outside  the  circle,  being 
greeted  by  shouts  of  joy  and  welcome  by  their  friends  all  along  the 
line.  The  first  band  to  put  in  an  appearance  was  that  from  Red  Hills, 
near  by,  who  reached  the  plain  on  November  twenty-ninth.  By  noon 
of  December  third  the  circle  was  complete.  Just  outside  the  circle 
were  the  tipis  of  a  large  number  of  Cheyenne,  and  other  tipis,  less  in 
number  of  course,  of  the  other  tribes  which  had  been  invited  to  the 
ceremony.  Formerly,  these  visitors  were  an  important  feature  in  the 
Sun  Dance;  for  it  was  the  custom  of  the  different  tribes  to  visit  each 
other  in  large  numbers  at  this  time,  when  they  were  always  made 
welcome,  and  when  many  exchanges  of  friendship  were  made.  Owing 
to  the  long  intimacy  of  the  Cheyenne  and  Arapaho,  it  is  always  the 
custom  for  those  of  one  tribe  to  attend  the  ceremony  of  the  other. 
Furthermore,  each  tribe  invites  the  other  tribe  as  a  whole,  and  vice 
versa  (see  Plate  II.).  Members  of  other  tribes,  however,  are  usually 
present  only  on  the  special  invitation  of  individuals  of  the  tribe.  Other 
tribes  represented  at  the  time  of  the  present  ceremony  were  the  Sioux 
and  Ponca.  A  certain  amount  of  color  was  noticeable,  owing  to  the 
presence  of  several  decorated  ghost-dance  tipis  (see  Plate  III.). 

The  statement  has  been  made  that  as  the  bands  come  together  on 
the  plain  they  pitch  their  tipis  in  the  form  of  a  circle.  This  is  the 
traditional  camping  circle,  a  venerable  institution  of  nearly  all  the 
tribes  of  the  Plains.  On  the  east  side  of  the  circle  is  an  opening  about 
one  hundred  yards  in  width,  where  no  tipi  is  ever  permitted  to  stand. 
The  arrangement  of  these  circles  among  a  number  of  the  Plains  tribes 
is  usually  in  accordance  with  gens.  Mr.  Moon6y  has  represented  such 
circles  for  the  Kiowa  and  for  the  Cheyenne.*  That  of  the  Cheyenne, 
for  instance,  consists  of  nine  distinct  gens,  while  that  of  the  Kiowa 
numbers  four  gens.  I  was  not  able  to  learn,  however,  of  any  similar 
divisions  among  the  Arapaho,  although  we  should  naturally  expect 
such  tribal  divisions.     The  basis  of  the  grouping  in  the  circle  appar- 

*Fourth  Report  of  the  Bureau  of  Ethnology,  1892-1893,  p.  26. 


24         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

ently  was  that  by  bands,  the  name  of  each  one  being  usually  an  issue 
station  or  sub-agency,  or  some  other  similar  term ;  but  that  there  was 
any  connection  between  these  bands  from  the  different  localities  of 
the  reservation  and  a  genetic  system,  could  not  be  learned. 

On  the  night  of  the  completion  of  this  circle,  Watangaa  placed  at 
the  disposition  of  the  Star  society  his  tipi,  one  of  the  largest  of  the 
camp-circle,  and  invited  the  Dog-soldiers  to  meet  there  at  a  feast  (see 
Plate  IV.).  The  reason  for  this  invitation  of  the  Dog-soldiers,  as  will 
be  seen  later  on,  was  largely  due  to  the  fact  that  to  this  society  falls 
much  of  the  detailed  work  in  the  erection  of  the  lodge.  The  approach- 
ing performance  was  discussed  that  evening,  and  the  head  men  of  the 
Star  society,  after  considering  the  matter  themselves,  finally  decided 
to  ask  Hocheni  and  the  other  head  men  to  begin  the  actual  ceremony. 
The  evening  was  made  a  time  of  good  fellowship  and  rejoicing  and  the 
utmost  good  feeling  prevailed  between  the  members  of  the  two  societies. 


VII.— Participants  in  the  Ceremony. 

Before  beginning  the  discussion  of  the  erection  of  the  lodge  and 
of  the  attendant  rites,  it  is  necessary  to  consider  in  some  detail  the 
more  prominent  characters  who  are  to  play  such  an  important  part  on 
the  following  days.  At  the  first  it  may  be  stated,  as  has  already  been 
intimated,  that  the  ceremony,  although  it  is  the  direct  outgrowth  of 
the  vow  of  a  single  individual,  is  an  affair  which  concerns  the  entire 
tribe;  consequently  we  may  say  that  participating  in  the  ceremony 
was  the  Arapaho  nation.  It  falls  to  the  lot,  however,  of  certain  indi- 
viduals to  conduct  the  actual  performance  itself.  These  active  partici- 
pants were  as  follows: 

Group  i. 

H6cheni  (Old-Crow);  chief  priest;  personates  Sun. 
Cheathea     (Broken-Down- Woman) ;      Peace-Keeper;     personates 
Moon. 

Bech^aye  (Hairy-Face,  wife  of  Old-Sun);  formerly  Peace-Keeper. 
Hisethe  (Good-Woman,  wife  of  Hohdkaki). 

Group  2. 

Hdwkan  (Crazy);  director;  personates  Arapaho  tribe. 
Waakat'ani  (Spotted-Bear) ;  assistant  director. 
Chaiii  (Lump-Forehead) ;  woman  director. 
Watdngaa  (Black-Coyote) ;  pupil. 


roer  v: 


Pu  IV.    Watanqaa's  Tipi,  Loaned  to  the  Star  Society  on  the  Night  of  the 
Completion  of  the  Camp-circle.    First  Day,  1901. 


Fig,  I.     Watdngaa,  a  renowned  Ghost  dancer,  standing  in  front  of  his  tipi. 
Fig.  2.     Watdngaa's  wife,  wearing  an  elaborately  decorated  Ghost  dance 
dress  of  buckskin. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  25 

Hisenibe  (Singing- Woman,  wife  of  Watangaa) ;  pupil. 
Chanitoe  (Striking- Back):  pupil. 
S6soni  (Shoshoni-Woman,  wife  of  Lizard);  pupil. 
Waanibe  (Grass-Singing,  wife  of  Hdwkan);  pupil. 

Group  3. 

Thihauchhdwkan  (Straight-Crazy) ;  J.odge-Maker  of  the  Sun 
Dance. 

Biba  (Curly-Hair,  wife  of  Thihduchhdwkan) ;  personates  the  Maid. 

Debithe  (Cut-Nose) ;  grandfather  of  Thihduchhdwkan ;  personates 
the  Sacred-Wheel. 

NIsah  (Twins);  grandmother  of  Biba;    personates  Mother-Earth. 

Group  4. 

Bihata  (Black-Hat),  or  George. 

Henienit  (Famous),  or  Arnold  Walworth. 

Waatannak  (Black-Bear). 

Waatu  (Warrior),  or  Daniel  Dyer. 

Chaiii  (Lump-Forehead),  or  Daniel  Webster. 

Hisehaseh  (Sun-Ray),  or  George  Hocheni. 

Hitantuh  (Strikes-First),  or  Hardley  Ridge-Bear. 

Hebethenen  (Big-Nose),  or  Walter  Finley. 

Niehhinitu  (Howling-Bird),  or  Charley  Old-Horse. 

We  may  now  consider  some  of  the  more  important  of  this  list  of 
participants,  with  the  idea  of  inquiring  into  the  cause  of  their  presence 
and  the  personages  they  are  to  represent  in  the  coming  drama. 

Hocheni  is  the  most  important  participant  to  be  mentioned,  and 
holds  a  position,  in  activity,  second  only  to  that  of  Hdwkan.  He  may 
be  regarded  as  the  chief  priest,  or  perhaps,  rather  as  referee;  for  to 
him  are  submitted  all  matters  of  doubt,  and  to  him  falls  the  duty  of 
overseeing  the  general  trend  of  the  ceremony.  It  is  his  duty  to  offer 
prayer  at  times,  to  light  the  sacred  pipe,  and  in  general,  to  see  that 
the  ceremony  is  conducted  with  reverence  and  with  proper  decorum. 
Hdcheni  takes  his  place  owing  to  the  fact  that  he  has  reached  the 
seventh  and  highest  of  the  Arapaho  societies,  Chinachinena,  Water- 
Pouring-Old-Men,  or  the  Sweat-lodge  society,  as  it  is  often  called. 
Heichebiaw  (Tall-Bear),  the  only  other  surviving  member  of  the  society, 
should,  according  to  precedent,  have  taken  a  place  with  Hocheni  as 
general  overseer  or  high  priest  in  the  ceremony;  but  he,  on  account 
of  his  great  age,  refused  to  take  an  active  part.  In  the  drama  of  the 
Sun  Dance,  Hocheni  plays  the  part  of  the  Sun. 


a6         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

A  position  similar  to  that  of  H6cheni  was  that  held  by  Chedthea. 
Her  title  in  this  position  is  Hathabesi  (Upright-One).  She  has  held 
this  office, during  many  previous  ceremonies,  and  was  chosen  by  the 
old  men  of  the  Sweat-lodge  society  many  years  ago.  It  is  her  duty, 
when  called,  to  offer  prayer,  and  especially  to  indicate  that  all  is  ready 
for  the  next  step.  Thus,  she  says  from  time  to  time:  "You  shall  do 
well.  Your  Father  will  look  upon  you.  Go  ahead!"  She  is  also 
spoken  of  as  Peace-Keeper.  Her  word  is  said  to  be  good  at  all  times, 
and  she  never  says  anything  unpleasant.  She  is  also  called  Old- 
Woman-Night,  and  she  is  supposed  to  see  everything  that  moves  in 
the  night,  and  is  said  to  have,  consequently,  the  ways  of  the  Moon. 
As  H6cheni  sees  everything  in  the  daytime  and  represents  the  Sun,  so, 
Chedthea,  in  the  great  drama,  represents  the  Moon. 

In  connection  with  Chedthea  should  be  mentioned  Bech^aye,  the 
wife  of  an  Arapaho  now  dead,  who  when  living,  was  a  member,  like 
Hdcheni,  of  the  Sweat-lodge  society.  Her  husband  was  keeper  of  the* 
straight-pipe,  and  on  his  death,  gave  it  to  her,  asking  her  to  preserve 
it.  Bech^aye  formerly  occupied  the  office  of  Chedthea.  Her  active 
participation  in  the  ceremony  now  is  of  course  exceedingly  slight, 
being  confined  to  the  offering  of  prayer,  from  time  to  time.  Also  to 
be  mentioned  in  this  group  is  Hisdthe  (Good-Woman),  widow  of  a 
member  of  the  Sweat-lodge  society,  and  consequently  present  through- 
out the  ceremony. 

Second  only  to  Hdcheni  in  importance  among  the  participants  is 
Hdwkan.  He  may  be  regarded  as  the  actual  director  of  the  ceremony. 
He  participated  in  two  other  ceremonies,  as  director,  once  with 
Wdtanah,  and  the  second  time  with  Waakatani  (Spotted-Bear);  had  he 
been  sick  or  absent  on  the  occasion  of  the  ceremony,  Wdtanah  or 
Waakatani  would  have  acted  in  his  place.  During  the  ceremony, 
Hdwkan,  in  all  his  prayers  and  in  his  general  attitude  toward  the  cere- 
mony, represents  the  entire  Arapaho  tribe,  and  is  called  Haseh^beiye 
(Praying-  or  Offering-Old-Man).  As  his  assistant  during  the  cere- 
mony, he  had  Waakatani,  who  performed  numerous  offices,  generally 
representing  Hdwkan,  but  at  no  time  taking  the  initiative.  To  be 
mentioned  also  with  Hdwkan  and  Waakatani  are  five  individuals  who 
performed  during  the  ceremony  in  virtue  of  the  fact  that  they  were 
engaged  in  learning  the  actual  routine  of  the  performance,  in  order 
that  they  might  fit  themselves  for  the  position  of  director  in  future 
ceremonies.  These  pupils  were  Watdngaa  and  his  wife,  Chanltoe, 
Sdsoni,  and  Wadnibe  (Grass-Singing). 

As  Hdwkan  is  the  general  director  of  the  ceremony,  guiding  the 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey!  27 

movements  both  of  his  assistants  and  of  the  pupils  and  of  the  dancers 
themselves,  so  the  ceremony  requires  the  presence  of  a  woman  to 
direct  a  certain  few  rites  where  a  man  may  not  properly  perform. 
This  was  done  by  a  woman  named  Chaiii  (Lump-Forehead).  In  previ- 
ous ceremonies,  in  which  she  fulfilled  this  office,  she  cut  the  so-called 
"ditch,"  an  important  element  of  the  altar.  In  the  ceremony  under 
consideration,  she  directed  Sosoni,  His^nibe  (Singing-Woman),  and 
Wadnibe  in  this  rite.  The  reason  why  this  so-called  "ditch"  is  cut 
by  women,  is  because  the  woman  who  ascended  to  the  Heavens  and 
became  the  wife  of  Sun-Boy,  dug  a  similar  hole  at  the  time  that  she 
rediscovered  this  earth. 

In  the  next  group  of  participants  is  the  Lodge-Maker,  his  wife, 
and  the  sponsors  of  these  two.  The  reason  for  the  presence  of  the 
Lodge-Maker  in  the  ceremony  is  of  course  obvious.  During  the  secret 
rites  previous  to  the  beginning  of  the  dance  in  the  great  lodge,  as  well 
as  during  the  days  of  feasting,  he  is  accompanied  by  his  wife  Biba 
(Curly-Hair).  Inasmuch  as  these  two  individuals  require  constant 
instruction  as  to  particular  duties  which  they  are  to  perform,  they,  as 
well  as  the  remaining  men  who  are  to  fast  during  the  ceremony,  have 
recourse  to  the  services  of  men  known  as  "grandfathers"  ("he  touches 
me").  The  grandfather  of  the  Lodge-Maker  of  each  Sun  Dance  is, 
in  the  regular  course  of  events,  the  Lodge-Maker  of  the  preceding  Sun 
Dance.  Inasmuch  as  the  Lodge-Maker  of  the  last  Sun  Dance,  how- 
ever, was  no  longer  alive,  Thihauchhdwkan,  the  Lodge-Maker  of  the 
present  Sun  Dance  went  to  Sosoni,  who  had  taken  an  active  part  in 
several  previous  Sun  Dances,  to  obtain  her  consent  to  act  as  grand- 
mother to  his  wife.  Sosoni *s  present  husband.  Lizard,  had  never 
taken  part  in  the  Sun  Dance,  consequently,  Thihauchhawkan  asked 
Nisah  (Twins)  to  be  grandmother.  Old-Camp,  now  dead,  as  stated 
above,  was  Lodge-Maker  in  the  preceding  Sun  Dance;  but  on  account 
of  paralysis  at  the  time,  a  man  by  the  name  of  Debithe  had  represented 
him  in  the  ceremony;  consequently,  Debithe  became  grandfather  of 
Thihduchhdwkan,  while  Nisah  acted  as  grandmother  of  Blba.  That  in 
the  ceremony  itself,  or  in  the  great  dramatization,  as  we  must  regard 
the  ceremony,  Debithe,  as  grandmother,  takes  the  part  of  an  important 
personage,  there  can  be  no  doubt;  as  the  representative  of  the  preceding 
ceremony  he  is  spoken  of  as  "Hetuhenait"  (Transferrer).  Nisah, 
during  the  ceremony,  not  only  assisted  and  acted  as  adviser  to  Blba, 
hut  during  one  of  the  final  performances,  placed  the  Wheel  on  the 
head  of  Biba,  and  throughout  the  drama,  played  the  part  of  Mother- 
Earth. 


28         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

Comprised  also  within  this  fourth  group  are  all  those  who,  in  addi- 
tion to  the  Lodge-Maker,  fast  and  dance  during  the  ceremony.  The 
names  of  these,  with  their  grandfathers,  have  already  been  given  in 
the  list  of  participants,  and  do  not  require  further  comment. 

PARTICIPANTS   IN  THE  CEREMONY,  1902. 

With  a  few  slight  changes,  the  priestly  participants  on  this  year 
were  the  same  as  those  on  the  preceding  year:  the  dancers  naturally 
were  not  the  same.  H6cheni  and  Hdwkan  played  the  same  important 
parts  as  on  the  previous  year.  The  Lodge-Maker  this  year  was  Niwaat 
(Good-Warrior).  Owing  to  the  fact,  however,  that  he  was  both 
unmarried  and  deaf,  it  was  necessary  to  secure  a  substitute  Lodge- 
Maker.  Wadtanakashi  (Black-Lodge),  volunteered  for  this  part,  and 
with  his  wife,  Nden  (Round),  played  an  important  part  in  the  cere- 
mony. The  grandfather  to  the  two  Lodge-Makers  was  Nishnat^yana, 
while  his  wife,  Thiyeh,  acted  as  adviser  to  the  wife  of  the  substitute 
Lodge-Maker,  and  in  other  ways  assisted  in  the  ceremony. 

The  names  of  the  dancers,  with  their  grandfathers,  are  given  in 
the  following  list: 


DANCERS. 

1.  Niwaat  (Good-Warrior). 

2.  Waatanakashi    (Black-Lodge),  .  . 

3.  Yahiise  (Hiding- Woman),  or  Char- 

lie Campbell. 

4.  D^tenin  (Short-Man). 

5.  Ndka  (White-Tail),  or  James  Mon- 

roe. 

6.  Hathaniseh   (Lone-Star),  or  Cecil 

Gray. 

7.  Hin^nwatani       (Black-Man),      or 

Noble    Prentis.. 

8.  Niehhfnitu      (Howling-Bird),     or 

Charley  Old-Horse. 

9.  Wahiisa  (Young-Bear). 

10.  .Hin^nbai  (Red-Man). 

11.  BesseS  (Wood). 


GRANDFATHERS. 

Nishnat^yana  (Two-Babies). 
Nishnat^yana  (Two-Babies). 

Nishnat^yana  (Two-Babies). 
Kakatdyahiwani     (Spotted- 
Bean). 

Kakatdyahiwani    (Spotted- 
Bean). 

Kakatdyahiwani     (Spotted- 
Bean). 

Kakatdyahiwani    (Spotted- 
Bean). 

Waawiitha  (Hail). 
Waawutha  (Hail). 
Waawiitha  (Hail). 
Waawiitha  (Hail). 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  29 

12.  Chaatani  (Swapping-Back).  Waatannihinin  (Black-Man). 

13.  Hochoawa     (Running-Crow),    or 

Dan  Wheeler.  Waatannihinin  (Black-Man). 

14.  Wahdbahu  (Bear-Track).  Hanakenakuwu(White-Buffalo). 

15.  NehShSih.  Hanakenakuwu(White-Buffalo). 

16.  WatawateSh   (Come-up-Hill).  Hanakenaku\vu(White-Buffalo). 

17.  Watangaa       (Black-Coyote),  or 

Ben  Franklin.  Hanakenakuwu(White-Buffalo). 

18.  Kakiiyanake  (Scabby-Bull).  Nishchanakati    (White-Eye-An- 

telope). 

19.  Heniait  (Long-Hair).  Hawkan  (Crazy). 

20.  His^haseh   (Sun-Ray),  or  George 

Hocheni.  Hawkan  (Crazy). 

21.  Tgpeish  (Cut-Hair).  Hdwkan  (Crazy). 

22.  Hit^huu    (Little-Crane),  or   Dan 

Brooks,  Nakwahthay    (Killing-with- 

Stick). 

23.  Hindnibe    (Singing-Man).  Nakwahthay    (Killing-with- 

Stick). 

24.  Hindnnitu  (Howling-Man),  or  Jay 

Gould.  Nakwahthay    (Killing-with- 

Stick). 

25.  Bikadnichu     (Smoking-at-Night), 

or  Francis  Lee.  Nakwahthay    (Killing-with- 

Stick). 
In  the  following  list  are  the  names  of  the  personal  advisers  of  the 
dancers,  who  painted  them  under  the  direction  of  the  grandfather. 
The  numbers  given  in  this  list  correspond  to  those  of  the  dancers  in 
the  preceding  list. 

LIST    OF    MEN    WHO    PAINTED    THE    DANCERS. 

1.  Watanah  (Black-Horse).  11.    Nakadsh  (  Sage),  or  Sage. 

2.  Nishnat^yana  (Two-Babies).      12.    Debbithathat  (Cut-Finger). 

3.  Nakaash    (Sage),    or    Henry  13.    Hishitari  (Fire). 

HSnakenakuwu(WhiteBuffalo). 
WddksSnna  (Bear's-Lariat). 
Wdshieh  (Ugly). 
Sage-Bark. 

Nishchdnakati  (White-Eye- An- 
telope). 

Chanitoe  (Striking-Back). 


Sage. 

14- 

4- 

Nakichawaah  (Rabbit-Run). 

15- 

5- 

Watanati  (Ute). 

16. 

6. 

Nakubathay  (White-Owl.) 

17- 

7- 

Hohdkaki  (Little-Raven,  Jr.) 

18. 

8. 

Kahiiye  (Lizard). 

9- 

Waawutha  (Hail). 

19. 

10. 

Kakiiyi   (Gun). 

30         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

20.  Batandwhosati  (Medicine-Dis-  23.    Not  ascertained. 

mounting).  24.    Not  ascertained. 

21.  Hdnibit  (Long-Nose).  25.    Not  ascertained. 

22.  Not  ascertained. 

ALPHABETICAL  LIST  OF  PARTICIPANTS. 

For  convenience  there  is  here  given  a  full  list  of  the  names  of  all 
those  mentioned  in  the  pages  of  this  paper,  who  participated  in  the 
ceremonies  of  either  1901  or  1902. 

Ahwaka  (Slaughter),  or  Omaha. 

Baihoh  (Old-Bear),  or  Blindy;  Dog-soldier. 

Batai)awhosati  (Medicine-Dismounting);  assistant  to  Hdwkan, 
1902. 

Bech^aye  (Hairy-Face,  wife  of  Old-Sun);  Peace-Keeper. 

Bessee  (Wood);  dancer,  1902. 

Biba  (Curly-Hair,  wife  of  Thihauchhawkan) ;  wife  of  Lodge-Maker, 
1901. 

Bihata  (Black-Hat),  or  George;  dancer,  1901. 

Bikadnichu  (Smoking-at-Night),  or  Francis  Lee;  dancer,  1902. 

Chadtani  (Swapping-Back) ;  dancer,  1902. 

Chanitoe  (Striking-Back);  pupil  and  assistant  to  Hawkan,  1902. 

Chaiii  (Lump-Forehead),  or  Daniel  Webster;  dancer,  1902. 

Chaiii  (Lump-Forehead);  assistant  to  Hdwkan,  1901. 

Chedthea  (Broken-Down-Woman);  Peace-Keeper. 

Debbithathat  (Cut-Finger). 

Debithe  (Cut-Nose);  grandfather  of  Thihduchhdwkan,  1901. 

D^tenin  (Short-Man);  dancer,  1902. 

Hddnl  (Mountain). 

Hdgo  (Rat). 

Hanatchawdtan!  (Black-Bull) ;  Dog-soldier. 

Hdnakebaah  (Bull-Thunder). 

Hdndkenakuwu  (White-Buffalo). 

Handkewak  (Bull-Bear). 

Hdnebit  (Long-Nose). 

Hanfit  (Long-Hair). 

Hathdniseh  (Lone-Star),  or  Cecil  Gray;  dancer,  1902. 

Hdwkan  (Crazy);  priest;  director  of  the  Sun  Dance  ceremony. 

HSbdthSn&n  (Big-Nose),  or  Walter  Dinley;  dancer,  1901. 

Henidit  (Long-Hair) ;  dancer,  1902. 

Henignit  (Famous),  or  Arnold  Walworth;  dancer,  1902. 

Heich^biwa  (Tall-Bear);  priest,  Water- Pouring-Old-Man. 

Hin^nbai  (Red-Man);  dancer,  1902. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  31 

Hinenibe  (Singing-Man);  dancer,  1902. 

Hin^nnitu  (Howling-Man),  or  Jay  Gould;  dancer,  1902. 

Hinenwatani  (Black-Man),  or  Noble  Prentis;  dancer,  1902. 

Hin^nwatani  (Black-Man);  grandfather,  1902. 

Hisehaseh  (Sun-Ray),  or  George  Hocheni;  dancer,  1901  and  1902. 

His^nibe  (Singing-Woman,  wife  of  Watangaa) ;  pupil. 

His^the  (Good-Woman);  wife  of  Hokakaki,  a  Water-Pouring- 
Old-Man. 

Hishitari  (Fire);  grandfather,  1902. 

Hiss^hnihani  (Yellow-Woman);  wife  of  HanSkawaahtannl. 

Hitantuh  (Strikes-First),  or  Hardley  Ridge-Bear;  dancer,  1901. 

Hitehuu  (Little-Crane),  or  Dan  Brooks;  dancer,  1902. 

Hocheni  (Old-Crow) ;  priest;   Water-Pouring-Old-Man. 

Hochoawa  (Running-Crow),  or  Dan  Wheeler;  dancer,  1902. 

Hohakaki  (Little-Raven,  Jr.);  assistant  to  Kakatayahiwani,  1902. 

Kahiiye  (Lizard);  assistant  to  Waawiitha,  1902. 

Kakatayahiwani  (Spotted-Bean);  grandfather,  1902. 

Kakiiyanake  (Scabby-Bull) ;  dancer,  1902. 

Kakilyi  (Gun);  assistant  to  Waawiitha,  1902. 

KSna'thekahade  (Coming-on-Horseback). 

Nadseh  (Walking-Around),  or  Grant  Left  Hand, 

Nden  (Round);  wife  of  the  associate  Lodge-Maker. 

Naka  (White-Tail),  or  James  Monroe;  dancer,  1902. 

Nakadsh  (Sage),  or  Henry  Sage;  assistant  to  Nishnateyana,  1902. 

Nakaash  (Sage),  or  Sage;  assistant  to  Waawdtha,  1902. 

Nakichawaah  (Rabbit-Run) ;  assistant  to  Kakatayahiwani,  1902, 

Nakiibathay  (White-Owl);  assistant  to  Kakatdyahiwani,  1902. 

Nakwathay  (Killing-with  Stick). 

Ndwaht(Left-Hand);  chief. 

Nehe'heih  (Little-Bird). 

Niehhinitu  (Howling-Bird),  or  Charley  Old-Horse;  dancer,  1901 
and  1902. 

Niekdhochithinaahnie  (Running-in-Circle). 

Nihdnisabad  (Yellow-Horse). 

Nisah  (Twins,  wife  of  Wadii,  former  Lodge-Maker) ;  grandmother 
of  Biba,  1901. 

Nishchdnakati  (White-Eye-Antelope) ;  priest;  Water- Pouring-Old- 
Man. 

Nishikanawke  (White-Antelope). 

Nishnateyana  (Two-Babies) ;  grandfather  of  Niwaat,  1902. 

Niwaat  (Good-Warrior);  Lodge-Maker,  1902. 

Sdsoni  (Shoshone-Woman,  wife  of  Lizard);  pupil. 


32         Field  Columbian  Museum— Anthropology,  Vol.  IV. 

TS'peish  (Cut-Hair);  dancer,  1902. 
Thihduchhawkan  (Straight-Crazy) ;  Lodge-Maker,  1901. 
Thiyeh  (Shave-Head,  wife  ot  Nishnat^yana);  wife  of  grandfather, 
1902. 

Wadnibe  (Grass-Singing,  wife  of  Hawkan);  pupil. 

WadsanShi  (Charcoal). 

Waakat'ani  (Spotted-Bear);  assistant  to  Hawkan. 

WddksSnna  (Bear's-Lariat) ;  assistant  to  HanS,kenakuwu. 

Wadtanakashi  (Black-Lodge);  associate  Lodge-Maker,  1902. 

Wadtannak  (Black-Bear), 

Wadtannihindn  (Black-Man). 

Waatu  (Warrior),  or  Daniel  Dyer;  dancer,  1901. 

Waawiitha  (Hail). 

Wadii  (Old-Camp). 

Wahiibahu  (Bear-Track) ;  dancer,  1902. 

Wahiisa  (Young-Bear) ;  dancer,  1902. 

Wandkdyl  (Row-of-Lodges). 

Wasas  (Osage);  relative  of  Niwaat. 

Wdshieh  (Ugly,  wife  of  Kakatayahiwani) ;  cut  center-pole. 

Wdtanah  (Black-Horse);  grandfather,  1902.  1 

Watdnati  (Ute) ;  assistant  to  Kakatdyahiwani,  1902. 

Watdngaa  (Black-Coyote),  or  Ben  Franklin;  dancer,  1902. 

WatdwateSh    (Come-up-Hill) ;  dancer,  1902. 

Yahiise  (Hiding- Woman),  or  Charley  Campbell;  dancer,  1901. 

WARRIOR   SOCIETIES. 

Before  dismissing  the  subject  of  the  participants  in  the  ceremony, 
it  may  not  be  out  of  place  at  this  point  to  give  a  brief  statement  of  the 
various  warrior  societies,  inasmuch  as  these  have  already  been  and 
will  be  referred  to  from  time  to  time.  These  societies  are  graded  in 
rank  and  power,  and  are,  according  1;o  Mooney,  seven  in  number: 
(i)  the  Nuhinena,  or  the  Kit-Fox  society — this  order  is  composed  of 
young  men  in  the  tribe  and  has  no  special  duties  to  perform;  (2)  the 
Hauthahiiha,  or  Star  society,  comprising  the  young  warriors  of  the 
tribe;  (3)  the  Hichaaquthi,  or  Club-Board  society,  so  called  because 
the  four  head  men  of  this  society  carried  in  battle,  wooden  clubs — this 
society  is  made  up  entirely  of  men  in  the  prime  of  life  and  was  form- 
erly a  powerful  warrior  organization;  (4)  the  Bittahinena,  or  Spear 
society — the  chief  duties  of  this  order  were  the  proper  policing  of  the 
camp,  they  also  saw  that  the  orders  of  head  men  of  the  camp  were 
executed;  (5)  the  Ahakanena,  or  Lime-Crazy  society,  made  up  of  men 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey,  ;^;^ 

who  had  passed  through  the  lower  orders — the  members  of  this  society 
occasionally  performed  a  ceremony  of  four  days'  duration,  known  as 
the  "crazy  dance";  (6)  the  HethShinena,  or  Dog-soldier  society,  per- 
haps the  most  important  warrior  order  among  the  Arapaho,  occupying 
an  especially  prominent  position  in  times  of  warfare;  and  (7)  the 
Chinachinfina,  or  Sweat-lodge  society.  The  members  of  this  society 
were  limited  to  seven  in  number,  one  or  more  of  whom  acted  in  the 
capacity  of  high  priest  in  the  performance  of  important  ceremonies. 
They  also  gave  instruction  to  the  members  of  other  orders.  The  rites 
of  this  order  have  never  been  described. 

THE  PRIESTHOOD. 

To  obtain  a  position  such  as  that  held  by  Hoheni  or  Nishchdnakati 
does  not  so  much  imply  a  knowledge  of  the  rites  of  the  ceremony,  as 
it  requires  membership  in  the  highest  of  the  Arapaho  societies,  the 
"Water-Pouring"  or  "Sweat-lodge,"  which  presupposes  membership 
in  all  the  minor  societies.  To  be  able  to  assume  the  responsible 
position  of  director  or  chief  priest,  such  as  that  held  by  Hdwkan,  one 
need  not  necessarily  have  been  a  Sun  Dance  Lodge-Maker  several 
times.  He  may  obtain  the  office  by  participating  in  the  ceremony, 
especially  by  painting  the  poles  and  the  center  fork  several  times. 
Hdwkan  began  by  obtaining  the  privilege  of  painting  the  poles  and 
the  center  fork,  then  entered  the  Rabbit-tipi,  where  he  offered  his 
services  in  the  making  and  painting  of  the  altar  paraphernalia,  etc., 
making  payment  each  year,  the  amount  being  regulated  by  the  nature 
of  the  service  he  was  permitted  to  perform. 


VIII.— Characterization  of  the  Eight 
Ceremonial  Days. 

In  order  that  the  sequence  of  the  rites  in  the  ceremony  may  be 
better  followed,  the  main  events  of  the  performance  on  each  day  of 
the  ceremony  are  herewith  summarily  given.  It  should  be  stated  first, 
however,  that  while  the  ceremony  of  1901  was  hurried,  and  conse- 
quently lasted  only  seven  days,  that  of  1902  was  given  in  full,  and 
consequently  lasted  eight  days.  In  comparing  the  events  of  the  cere- 
mony of  the  two  years,  it  may  be  stated  that  the  first  day  of  the  1901 
ceremony  corresponds  to  the  first  day  of  the  1902  ceremony;  while  the 
events  of  the  second  day  of  the  1901  performance  were  divided  between 
the  second  and  third  days  of  the  1902  performance.     The  third,  fourth. 


34         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

fifth,  sixth,  and  seventh  days  of  1901  correspond  respectively  to  the 
fourth,  fifth,  sixth,  seventh,  and  eighth  days  of  the  1902  performance. 

Owing  to  the  fact  that  few  or  many  days  may  be  consumed  in  the 
formation. of  the  camp-circle,  the  ceremony  proper  may  be  said  to 
begin  on  the  morning  of  the  announcement,  although  it  is  to  be  under- 
stood that  the  camp-circle  has  already  been  formed. 

First  Day: — Formal  announcement,  in  the  forenoon,  of  the  begin- 
ning of  the  ceremony,  by  the  Crier;  erection  of  the  Rabbit- tipi  in  the 
afternoon. 

Second  Day: — Secret  ceremonies  in  the  Rabbit-.tipi : — The  prep- 
aration of  the  Lodge-Maker's  robe;  the  filling  of  the  sacred  pipe; 
the  cutting  of  the  rawhide  for  the  center-pole;  the  formation  of  the 
temporary  altar;  the  rehearsal  of  Sun  Dance  songs.  Events  out- 
side of  the  Rabbit-tipi: — The  killing  of  the  buffalo;  the  searching  for 
the  ordinary  timbers  for  the  great  lodge  by  the  different  warrior  soci- 
eties; and,  near  midnight,  the  ceremony  of  the  grandfather  and  the 
wife  of  the  Lodge-Maker. 

Third  Day: — Secret  ceremonies  within  the  Rabbit-tipi: — The 
painting  of  the  robe  for  the  center-pole;  the  painting  of  the  buffalo 
skull;  preparation  of  the  digging-stick;  the  painting  of  the  belt;  the 
painting  of  the  Lodge-Maker.  Events  outside  the  Rabbit-tipi: — The 
solicitation  about  the  camp-circle  by  the  Lodge-Maker  for  presents;  the 
bringing  to  the  Rabbit-tipi  of  the  cedar-tree;  the  laying  out  of  the 
Offerings-lodge;  the  digging  of  the  holes  for  the  lodge  by  the  Lime- 
Crazy  society;  the  erection  of  and  ceremonial  performance  within  the 
Sweat-lodge;  rehearsal  in  the  Rabbit-tipi  during  the  night. 

Fourth  Day: — Secret  ceremonies  within  the  Rabbit-tipi: — Such 
preparations  as  have  not  already  been  made  are  completed ;  in  the  after- 
noon the  Lodge-Maker  and  his  associates  are  painted;  preparation  is 
made  for  the  abandonment  of  the  Rabbit-tipi,  which  takes  place  on  the 
completion  of  the  Offerings-lodge.  Outside  the  Rabbit-tipi : — The  cap- 
ture and  bringing  in  of  the  center-pole ;  the  painting  of  the  four  poles 
and  the  center-pole ;  the  completion  of  the  Offerings-lodge ;  the  war  and 
scalp  dance  inside  the  Offerings-lodge;  after  the  evening  meal  the 
Lodge-Maker  and  those  who  are  to  fast  during  the  ceremony  enter  the 
lodge;  bearing  the  first  paint;  singing  sacred  songs  in  the  Offerings- 
lodge;  outside,  near  midnight,  the  ceremony  between  the  grand- 
father and  the  wife  of  the  Lodge-Maker;  the  formal  beginning  of 
the  Sun  Dance. 

Fifth  Day: — At  daybreak  occurs  the  dance  to  the  Sun;  the  dancers 
then  remain  inactive  until  the  completion  of  the  altar;  the  priests  go 
outside  to  cut  the  sods  which  are  brought  within  the  Offerings-lodge, 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  35 

while  the  buffalo  skull  and  other  paraphernalia  have  been  brought  in 
before;  the  building  of  the  altar;  the  distribution  of  the  goods  by  the 
grandfather  on  behalf  of  the  Lodge-Maker;  the  ceremonial  washing 
of  the  bodies  of  the  dancers,  followed  by  the  second  painting.  (The 
dance  is  continued  at  intervals  throughout  the  night.) 

Sixth  Day: — Dance  to  the  rising  Sun;  the  dance  is  continued  at 
intervals  throughout  the  day ;  removal  of  the  paint  of  the  second  day, 
followed  by  the  third  paint;  medicine  or  courting  night. 

Seventh  Day: — Removal  of  the  paint  of  the  preceding  day,  fol- 
lowed by  the  fourth  paint;  preparation  of  the  medicine  water  outside 
the  Offerings-lodge;  the  final  dance  to  the  setting  Sun;  the  emetic; 
drinking  the  holy  water,  followed  by  the  termination  of  the  fast  with 
an  elaborate  feast. 

Eighth  Day: — Dance  out  to  the  Sun,  with  purification  rites;  smok- 
ing the  straight-pipe  by  the  priests  and  dancers;  the  sacrifice  of  cast- 
off  clothing  at  the  altar  and  center-pole  of  the  Offerings-lodge. 


IX.— The  Sun  Dance  Ceremony. 

While  the  various  scenes  and  incidents  which  have  already  been 
noted  form  a  necessary  and  more  or  less  intrinsic  part  of  the  great  Sun 
Dance  ceremony,  yet  they  must  be  considered  as  preliminary  to  the 
ceremony  itself.  On  the  completion  of  the  camp-circle,  and  with  the 
meeting  on  the  night  of  the  day  of  its  completion,  when  it  is  decided 
that  the  "announcement"  is  to  be  made  on  the  following  morning,  the 
time  of  the  preliminary  period  is  at  an  end;  for  with  the  announce- 
ment on  the  next  day,  the  ceremony  proper  of  the  Sun  Dance  may  be 
said  to  begin. 

FIRST  DAY,  1901  AND  1902. 

Early  in  the  afternoon  of  this  day,  some  of  the  leading  men  of  the 
Star  society  repaired  to  the  lodge  of  Debithe,  the  grandfather,  and  a 
head  man  of  the  Star  society,  taking  with  them  food  for  the  feast. 
They  then  sent  for  Hdcheni,  Hdwkan,  Bech^aye,  Cheathea,  and  some 
old  men  of  the  Dog-soldier  society.  After  an  informal  discussion 
regarding  the  routine  work  about  to  be  performed  in  connection  with 
the  ceremony,  and  after  partaking  of  food,  H6cheni  prayed: 


36         Field  Columbian  Museum — Anthropology,  Vol.  IV, 


HdcHENi's  Prayer  before  Star  Society. 

"My  Grandfather,  Light  of  the  World;  Old-Woman-Night,  my 
Grandmother, — I  stand  here  before  this  people,  old  and  young.  May 
whatever  they  undertake  to  do  in  this  ceremony,  and  may  their  desires 
and  wishes  and  anxieties  in  their  every-day  life,  meet  with  your 
approval;  may  the  growing  corn  not  fail  them  and  may  everything 
that  they  put  in  the  ground  mature,  in  order  that  they  may  have  food 
and  nourishment  for  their  children  and  friends.  May  whatever  light 
comes  from  above,  and  also  the  rain,  be  strengthening  to  them,  that 
they  may  live  on  the  earth  under  your  protection.  May  they  make 
friends  with  the  neighboring  tribes,  and  especially  with  the  white 
people.  May  the  tribe  be  free  from  all  wrong,  from  all  crimes,  and 
may  they  be  good  people." 

THE   ANNOUNCEMENT. 

Hocheni  was  now  seen  to  leave  the  lodge  and  pass  directly  to  the 
northeast  side  of  the  great  camping  circle.  He  carried  in  one  hand  a 
beautifully  carved  black  pipe,  and  in  the  other  hand  the  tail  of  a 
buffalo.  He  wore  leggings  and  moccasins  of  buckskin  and  a  cotton 
shirt,  over  which  he  had  placed  a  white  sheet,  which  he  wore  as  a 
blanket.  He  was  painted  red,  even  including  his  blanket  and  the 
other  portions  of  his  costume.  He  walked  slowly,  and  it  was  noticed 
that  no  one  passed  him  as  he  proceeded.  Having  reached  the  line  of 
the  lodges,  he  cried  out  in  a  loud  voice:  "All  you  people,  old  and 
young,  listen  to  me!  Man-Above,  my  Grandfather,  Old-Woman-Night, 
my  Grandmother,  Dog-soldiers,  Lime-Crazy-Men,  Club-Board-Men, 
— may  all  the  people  increase  day  and  night,  be  free  from  all  sickness 
and  distress!  May  peace  and  happiness  exist!  Thihduchhdwkan  is 
ready.      So  says  Thihduchhdwkan  to  you  all." 

At  the  end  of  the  announcement,  Hocheni  uttered  a  long  hklloo, 
and  all  within  the  sound  of  his  voice  are  supposed  to  say,  "Thanks," 
while  the  parents  in  each  tipi  pray:  "My  child,  may  you  grow  up  a 
man."  Hdcheni  then  passed  to  that  side  of  the  camp-circle  toward 
the  southwest,  then  to  the  southeast,  and  then  toward  the  northeast, 
halting  at  each  of  these  three  points,  where  he  uttered  the  same 
announcement,  whereupon  he  returned  to  the  lodge  of  Debithe. 
Hdcheni  and  Hdwkan  now  instructed  some  of  the  Star  society,  while 
they  were  still  in  Debithe's  tent,  to  search  the  camp-circle  for  a  com- 
plete buffalo  hide,  and  take  it  out  on  one  of  the  hills  near  the  camp- 
circle  and  make  a  frame  for  it  and  erect  it  in  the  form  of  a  buffalo. 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  V. 


PL.  V.   The  Rabbit-tipi. 


The  secret  tipi  of  preparation,  which  stood  at  the  west  of  the  center  of  the 
camp-circle.  Photograph  made  on  third  day,  after  cedar  tree  had  been  placed 
behind  tipi.  The  decoration  of  the  tipi  has  nothing  to  do  with  the  Sun  Dance 
ceremony,  it  being  one  of  the  Ghost  dance  tipis. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  37 

In  former  times,  of  course,  this  episode  in  the  ceremony  consisted  in 
the  location  of  a  living  buffalo.  Those  who  have  been  mentioned  as 
having  gathered  there  for  the  announcement  now  took  up  what  food 
there  was  left  over  from  the  feast  and  departed  with  it  for  their  homes. 
Hdcheni  remaining  for  a  few  moments  to  smoke. 

THE  RABBIT-TIPl. 

The  members  of  the  Star  society,  shortly  afterwards  began  to 
congregate  in  the  center  of  the  camp-circle,  having  been  called  by  the 
head  man  of  the  Star  society,  through  Hocheni.  Having  assembled, 
they  were  told  by  their  leader  to  go  over  and  get  the  tipi  of  Wahuayni- 
howni  (Yellow-Magpie),  which  was  one  of  the  largest  in  the  camp- 
circle.  They  went  after  the  tipi,  and  were  about  to  lift  it  up,  when 
the  wife  of  Yellow-Magpie  made  strenuous  objections,  saying  that  they 
had  a  big  family  and  needed  shelter.  They  then  selected  another  tipi, 
and  it  also  was  refused.  The  third  tipi  selected  belonged  to  a  member 
of  the  Star  society,  and  permission  was  given  to  take  it.  First  they 
pulled  out  the  pegs  which  fastened  the  tipi  to  the  ground,  then  took 
ofif  the  door  and  loosened  the  ropes  for  the  smoke  flaps.  The  mem- 
bers then  surrounded  the  lodge,  and  each  man  took  hold  of  a  lodge 
pole.  At  a  signal,  they  lifted  the  poles  simultaneously,  and  thus 
moved  the  tipi  bodily  to  a  spot  a  short  distance  west  of  the  center  of 
the  camp-circle.  Here  they  were  met  by  their  wives,  who  firmly 
adjusted  the  tipi  and  replaced  the  pegs.  The  opening  of  the  tipi,  of 
course,  faced  the  east  (see  Plate  V).  This  tipi  is  called  by  the  Chey- 
enne, "The  First  lodge,"  while  among  the  Arapaho  it  is  known  as  the 
"Nakshawu,"  or  White-Rabbit-tipi.  The  origin  of  the  name  is  due 
to  the  myth  in  which  male  and  female  rabbits  conducted  the  secret 
ceremonies  of  the  Offerings-lodge.  The  men  who  still  perform  such 
rites  are  known  as  Rabbit-men. 

RABBIT-TIPl  TABOOS. 

No  one  ever  enters  the  Rabbit-tipi  with  moccasins  or  any  kind  of 
covering  on  the  feet.  Moccasins  were  removed  outside  and  were 
deposited  at  one  side  or  the  other  of  the  door.  In  explanation  of  this 
the  following  was  obtained:  "In  the  evening,  when  the  bats  are  flying 
around  near  a  tipi,  a  person  throws  up  pairs  of  moccasins  in  the  air, 
until  the  bat  flies  into  the  moccasin.  In  this  way  the  bat  is  caught 
and  killed ;  otherwise,  the  bat,  representing  the  evil  spirit,  may  work 
sickness  upon  an  innocent  person.  Because  the  home  of  the  bat  (the 
evil  spirit)  is  in  the  moccasin,  the  Rabbit-tipi  people,  before  entering 
the   Rabbit-tipi,  take  off  their  moccasins,  thus  showing  reverence." 


38         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

It  is  required  also  that  all  enter  and  leave  the  Rabbit-tipi  by  way 
of  the  south,  west,  and  north,  in  other  words,  in  a  sunwise  circuit.  In 
this  manner  they  travel  along  with  the  sun  and  are  therefore  protected. 
Hence  also  no  one  may  pass  in  front  of  the  altar  with  the  sacred 
Wheel  and  buffalo  skull ;  a  clear  path  must  be  preserved  between  these 
and  the  door,  so  that  the  blessing  of  the  Sun-ray  may  take  effect. 

There  is  no  restriction  as  to  the  nature  of  the  food  used  in  the 
Rabbit-tipi,  the  quantity  and  amount  depending  upon  the  means  of 
the  family  who  is  making  the  feast. 

WOOD  FOR  THE  CEREMONIAL  FIRE. 

The  boys  of  the  Star  society  now  began  gathering  wood,  first 
near  Watangaa's  lodge  on  the  north  side  of  the  circle,  and  then  con- 
tinuing the  circuit,  taking  one  or  two  sticks  from  each  lodge,  until 
they  could  carry  no  more,  when  they  would  take  their  load  to  the  left 
and  the  front  of  the  Rabbit-tipi. 

They  then  returned  to  that  part  of  the  circle  where  they  had  left 
off,  and  continued  gathering  wood  until  they  had  completed  the  circuit 
of  the  camp;  consequently,  each  wood-pile  had  yielded  its  contribution. 

THE  WHEEL  TAKEN  TO  THE  RABBIT-TIPL 

Debithe,  accompanied  by  two  members  of  the  Star  society,  now 
went  to  the  home  of  Yahiise,  taking  with  him  calico,  to  obtain  the 
Wheel.  Having  arrived  at  his  tipi,  they  entered,  gave  him  the  calico, 
and  explained  their  mission.  They  all  went  outside  to  the  rear  of  the 
tipi,  where  the  bundle  containing  the  Wheel  was  suspended  on  a  tripod. 
A  prayer  was  now  uttered  by  one  of  the  men,  whereupon  Yahiise  took 
the  bundle  from  the  tripod  and  gave  it  to  Debfthe,  who  returned  with 
it  to  the  Rabbit-tipi. 

KNIFE,  RAWHIDE  AND  BADGER  TAKEN  TO  THE  RABBIT-TIPI. 

Another  member  of  the  Star  society,  just  before  that  time, 
entered  the  Rabbit-tipi  with  a  double-edged  knife.  Hocheni  had  also 
directed  one  of  the  members  of  the  Star  society  to  bring  into  the  lodge 
a  piece  of  buffalo  hide,  which  had  been  obtained  from  Big-Belly,  and  a 
piece  of  rawhide,  while  Debithe  brought  in  a  badger  skin.  As  these 
were  brought  in  they  were  passed  to  Hdwkan,  who,  in  a  low  voice, 
uttered  a  prayer: 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  39 


Hawkan's  Prayer  in  Rabbit-Tipi. 

"My  Father,  Man-Above,  the  Creator,  the  Giver-of-Food,  listen! 
Be  near  to  us  poor  beings  who  need  spiritual  and  bodily  blessings! 
May  the  people  gathered  in  this  tipi,  also  the  people  of  the  entire 
camp-circle,  be  blest  hereafter!  My  Grandmother,  Old-Woman- 
Night,  make  a  good  night  for  us!  My  Grandfather,  Sun,  may  your 
day  bring  good  for  us  all !  Hear  us  as  we  pray  and  give  thanks  during 
this  ceremony,  which  we  have  learned  of  our  fathers  and  of  the  Four- 
Old-Men!  Thy  help  and  presence  we  expect."  By  this  time  it  was 
quite  dark. 

THE  FIREPLACE. 

Wadnibe  (Grass  Singing,  the  wife  of  Hawkan),  and  Nisah  (Twins, 
wife  of  Wadil),  now  prepared  to  make  a  fire  in  the  center  of  the  lodge. 
First,  Nisah  made  with  a  pipe-stem  (for  it  contains  a  protective  anti- 
dote), a  pass  at  the  earth  four  times  in  four  different  places,  near  the 
center  of  the  lodge,  forming  an  imaginary  square.  She  then  made 
four  passes  in  the  center  of  this  space.  Wadnibe  then  went  through 
the  same  motions  with  a  hoe.  The  latter  then  cleared  away  the  grass 
from  a  space  about  two  feet  square  and  both  joined  to  make  a  slight 
excavation  in  the  center  for  the  fire.  The  dirt,  grass,  and  roots  were 
then  placed  upon  a  black  blanket,  carried  outside,  and  deposited  in 
the  form  of  a  small  mound  about  thirty  feet  away,  in  front  of  the  tipi. 

THE  SAGE  FLOOR. 

Debithe  then  left  the  Rabbit-tipi  and  returned  with  a  bundle  of 
sage.  He  went  at  once  to  the  southeast  corner  of  the  tipi,  where  he 
selected  a  few  stems  from  the  bundle  and  waved  them  toward  the 
southeast  four  times,  and  laid  the  small  bunch  on  the  ground.  He 
then  went  to  the  southwest  corner,  the  northwest  corner,  and  the 
northeast  corner,  repeated  this  performance  at  each  place,  and  deposited 
a  small  bunch  of  sage.  He  then  gave  the  remainder  of  the  sage  to 
the  two  women,  who  spread  it  around  the  lodge  in  the  form  of  a  circle. 
Quilts  and  blankets  were  now  spread  over  the  sage,  and  all  present 
sat  down. 

THE  FIRE,  AND  THE  WAR  STORY. 

Little-Chief,  the  head  man  of  the  Star  society,  now  entered  with 
a  few  sticks  of  wood  in  his  arm.  Standing  at  the  southeast  corner,  he 
told  his  war  story  and  then  made  a  fire  in  the  center  of  the  tipi. 

The  story  of  a  warrior  must  be  good  and  known  as  to  its  particu- 


4©         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

lars  by  two  or  more  witnesses.  If  the  teller  of  the  story  exaggerates, 
the  fire  does  not  burn  well.  The  sticks  of  wood  thrown  into  the  fire 
as  fuel  personify  the  victims  struck  or  killed.  Since  they  use  their 
victims  as  fuel  to  give  light  in  the  Rabbit-tipi  and  the  Offerings-lodge, 
the  whole  tribe  is  protected  from  all  injury.  This  kindly  protection 
comes  from  Sun  and  Moon,  or  rather  from  the  hearts  of  these  two 
deities.  The  fire  is  the  Sun,  for,  after  finishing  the  big  lodge  for  the 
snake,  he  gave  his  heart  for  light. 

Unless  the  fire  is  made  in  the  Rabbit-tipi,  as  well  as,  later  on,  in 
the  Offerings-lodge,  the  ceremony  cannot  be  carried  on.  The  war 
story  itself  is  symbolic  of  victory  for  the  tribe  over  famine  and  all 
kinds  of  plagues. 

THE  BADGER-PACK. 

Owing  to  purely  accidental  circumstances,  the  preparation  of  the 
Badger-pack  was  not  observed  during  either  of  the  ceremonies  of  1901 
or  1902.  It  is  known,  however,  that  it  was  prepared  on  the  afternoon 
of  the  first  day  of  the  erection  of  the  Rabbit-tipi.  I  assume  from  the 
fact  that  the  badger-skin,  when  the  pack  was  unwrapped  at  the  termi- 
nation of  the  ceremony,  was  taken  care  of  by  Watangaa,  that  the  skin 
belongs  to  him,  and  was  furnished  by  him  on  each  occasion.  The 
same  reasoning  leads  me  to  believe  that  the  wrapper  of  the  pack  was 
furnished  by  Hocheni. 

It  was  known  that  the  badger-skin  was  painted,  the  anterior  half 
being  in  red  and  the  posterior  half  in  black.  After  the  painting,  it 
was  wrapped  in  an  old  piece  of  buffalo  hide  about  three  feet  square, 
which  was  then  made  into  a  compact  bundle  by  means  of  a  long  buffalo- 
hide  rope.  The  wrapping  was  painted  as  had  been  the  badger-skin, 
the  front  half  being  red,  the  second  half  black,  but  whether  the  paint- 
ing was  done  before  the  badger-skin  was  enveloped,  or  afterwards,  is 
not  known ;  nor  is  it  known  what  rites,  if  any,  were  performed  during 
the  preparation  of  the  pack.  In  its  finished  condition,  the  badger- 
skin  had  been  so  placed  that  the  head,  up  to  and  including  the  ears, 
projected  beyond  the  end  of  the  pack.  When  not  in  use,  for  purposes 
to  be  described  in  proper  places,  the  Badger-pack,  both  in  the  Rabbit- 
tipi  and  in  the  Offerings-lodge,  occupied  a  place  to  the  south  of  the 
skull,  the  badger  looking  toward  the  east. 

THE  BUFFALO  SKULL. 

Debithe  again  left  the  tipi  and  soon  returned,  bringing  in  a  buffalo 
skull  which  had  been  lying  in  Thihduchhdwkan's  tipi,  and  which  had 
been  brought  to  the  camp-circle  by  VVatdngaa,  who  owned   the  skull. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey,  41 


ENTRANCE  INTO  THE  LODGE  OF  THE  LODGE-MAKER  AND 

HIS  WIFE. 

Thihduchhdwkan,  the  Lodge-Maker,  and  his  wife  now  entered  the 
lodge.  Thihauchhawkan  was  painted  from  head  to  foot  with  white 
earth.  Around  his  neck  was  suspended  a  bone  whistle,  and  his  dress 
consisted  of  a  buckskin  kilt,  while  over  his  shoulders  was  a  buffalo 
robe.  In  one  hand  he  carried  a  pipe  filled  with  tobacco,  which  he 
offered  to  Debithe,  his  grandfather.  Hdcheni  now  took  from  a 
small  buckskin  bag  a  piece  of  root,  which  he  placed  in  his  mouth,  then 
spat  upon  his  hands  and  rubbed"  himself.  Pieces  of  root  were  passed 
to  the  others,  who  did  the  same. 

THE  FEAST  AND  THE  OFFERING  OF  FOOD. 

Food  was  now  brought  in  by  the  friends  of  Thihauchhawkan,  and 
then  Cheathea,  Becheaye,  Sosoni  (Shoshoni-Woman,  wife  of  Lizard), 
Waatannak  (Black-Bear),  and  the  head  men  of  the  Star  society  entered. 
Thihduchhawkan  now  took  up  the  bowl  of  rice  soup  and  placed  it  in 
front  of  Hocheni,  who  took  a  piece  of  sage  and  made  a  single  pass 
toward  each  corner  of  the  bowl,  and  then  dipped  it  in  the  center  and 
handed  it  to  Thihduchhawkan,  who  went  to  the  southeast  corner  of 
the  lodge  and  made  an  offering  or  sacrifice  of  food  to  the  tipi-pole  at 
that  point;  then  to  the  southwest  tipi-pole.  He  then  touched  the 
earth  with  the  sage  near  the  fireplace  on  the  north  side,  and  then  sacri- 
ficed food  to  the  northwest  lodge-pole,  and  then  to  the  northeast.  He 
now  returned  in  a  dextral  or  sunwise  circuit  to  the  west  side  of  the 
fireplace,  where  the  buffalo  skull  had  been  deposited,  and  placed  the 
sage  in  front  of  the  skull.  All  said,  "Thanks,"  which  was  the  signal 
to  begin  eating. 

THE  OFFERING  OF  SMOKE. 

During  the  days  of  the  Rabbit-tipi,  and  later,  within  the  Offerings- 
lodge,  the  priests  and  others  indulged  in  much  smoking.  With  this 
smoking  are  many  rites,  which  will  be  described  in  their  proper  places. 
But  in  connection  with  practically  all  of  the  smoking,  offerings  of 
smoke  are  made  to  certain  deities.  First  the  stem  is  pointed  toward 
the  southeast,  then  the  southwest,  the  northwest,  and  the  northeast, 
thus  recognizing  the  Four-Old-Men;  then  to  the  zenith,  in  honor  of 
the  Father  or  Man-Above ;  then  to  the  earth,  in  honor  of  the  Super- 
natural-Beings. These  Supernatural-Beings,  or  lesser  gods  of  the 
earth,  are  fishes,  trees,  rocks,  winds,  etc.  They  are  also  spoken  of  as 
false  people,  whose  evil  influence  is  to  be  guarded  against.     To  all 


42         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

these  beings,  and  to  all  gods  is  thus  transmitted  a  general  prayer  that 
they  may  extend  their  tender  mercy  and  sympathy  upon  the  entire 
tribe. 

THE  OFFERING  OF  INCENSE. 

This  is  an  important  Rabbit-tipi  rite  and  is  also  performed  on  a 
few  occasions  in  the  Offerings-lodge.  For  this  purpose  either  spruce 
or  cedar  leaves  are  used.  Spruce  leaves  are  more  highly  thought 
of,  for  they  produce  a  greater  volume  of  smoke  and  a  more  intense 
odor.  Sometimes  the  Southern  Arapaho  use  cedar  when  the  rite  calls 
for  spruce,  as  spruce  is  not  easily  obtained  in  Oklahoma. 

In  bathing  any  object  in  incense,  the  smoke  is  supposed  first  to 
be  received  by  the  Four-Old-Men,  who  in  turn  extend  such  sympathy 
as  they  can  give;  then  the  smoke  is  received  by  the  Sun,  "who  walks 
in  the  center  of  the  earth."  The  object  passed  over  the  incense  is 
purified. 

THE  DRUM  AND  RATTLE. 

During  the  singing  in  the  Rabbit-tipi  and  in  the  Offerings-lodge  a 
rattle  or  drum  is  used.  The  rattle  is  that  of  a  medicine-man,  is 
scrotum-shaped,  and  had  its  origin  from  the  Pleaides  (the  seven 
brothers  and  their  daughter,  Splinter-Foot  Girl),  who  are  supposed  to 
be  within  the  rattle,  and  who  contain  all  of  the  ceremonial  songs.  It  is 
said  that  when  the  Man-Above  was  awaiting  a  selection  by  the  people, 
Prairie-Chicken  offered  his  body  for  a  rattle.  The  body  is  reversed, 
the  head  being  the  handle.  His  body  contains  also  the  Four-Old-Men, 
Sun,  and  Moon.  These  birds  dance  early  in  the  morning,  sing  songs, 
and  scatter  them,  as  if  to  dust  themselves. 

The  large  drum  used  in  the  rehearsal,  and  during  the  singing  in 
the  Offerings-lodge  is  spoken  of  as  water  and  is  said  to  come  from  the 
rain  clouds.  By  another  informant  it  is  said  the  drum  is  the  earth, 
which  is  the  badger,  and  the  drum-stick  is  the  pipe-stem.  The  earth 
represents  the  female  element  and  the  pipe-stem  the  male  element;  in 
other  words,  the  connection  of  the  people,  outside  of  the  Rabbit-tipi. 

The  parfleche  or  rawhide,  the  use  of  which  will  be  explained  later, 
represents  ill  luck  or  famine  and  follows  everything  in  the  ceremony. 
It  is  purified  over  incense  and  then  thrown  among  the  Dog-soldiers, 
who  beat  it  with  sticks,  thus  killing  it,  and  so  occasioning  joy  and  good 
feeling  among  all,  and  a  victory  for  the  Lodge-Maker.  As  it  also 
personifies  a  distressed  person,  it  is  raw,  plain,  not  adorned. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  43 

THE  USE  OF  THE  PIPE-STEM. 

The  pipe-stem  is  used,  both  in  Rabbit-tipi  and  Offerings-lodge,  to 
discharm  with — its  poison  or  antidote  (wahttu,  root)  comes  from  the 
flat  pipe.  By  touching  objects  about  to  be  altered  with  the  pipe-stem, 
the  workers  are  rendered  immune  from  the  power  to  do  evil  which  is 
inherent  in  every  animate  object  (called  in  prayer  as  supernatural 
being),  and  which  ordinarily  would  resent  being  altered.  Were  the 
pipe-stem  not  used,  the  worker  would  suffer  injury,  misfortune,  or 
even  loss  of  life. 

The  belief  in  the  protective"  power  of  the  flat  or  tribal  medicine 
pipe  is  so  great  that  the  stem  is  spoken  of  as  the  head  or  mind  of  the 
Father  who  leads  the  way  and  conquers  the  enemy. 

THE  USE  OF  SPITTLE. 

This  rite,  so  often  made  use  of  in  both  Rabbit-tipi  and  Offerings- 
lodge  is  a  preparatory  rite  before  certain  actions.  It  is  symbolic  of 
the  information  given  by  the  Man-Above  to  the  Four-Old-Men.  It 
also  symbolizes  the  breath  of  a  person,  or  in  other  words,  life;  it  is 
also  a  cleansing  rite.  The  ejecting  of  spittle  after  taking  a  piece  of 
root  into  the  mouth  imitates  the  motion  of  scattering  clay  to  the  four 
directions,  as  it  was  done  when  this  earth  was  formed.  The  fifth  time, 
to  the  center,  is  for  the  Flat-Pipe,  the  Creator,  who  is  located  in  the 
center  of  the  earth,  and  preserves  a  balance  or  equilibrium. 

RABBIT-TIPI  SONGS  AND  THE  REHEARSAL. 

After  the  feast,  the  utensils  and  the  remaining  food  were  removed 
from  the  tipi,  the  priests  sang  certain  songs  which  are  only  sung  on 
this  the  first  night  of  the  Rabbit-tipi.  There  was  as  yet  no  drum  in 
the  tipi,  and  time  was  kept  by  beating  with  a  pipe-stem  upon  the 
Badger-pack. 

After  they  had  been  singing  tor  some  time,  the  Lodge-Maker 
passed  his  pipe  to  Debithe,  who  in  turn  handed  it  to  Hdcheni,  who 
blest  it  and  rubbed  it.  He  then  lighted  it  with  a  coal  from  the  fire 
and  smoked  a  few  puffs,  and  the  pipe  was  then  passed  around  the 
circle  from  right  to  left.  On  the  return  of  the  pipe  to  Hdcheni,  he 
cleaned  it  in  the  usual  ceremonial  fashion. 

Debfthe  took  a  live  coal  from  the  fire,  and  over  it  deposited  some 
spruce-leaves.  As  the  smoke  from  the  spruce  began  to  ascend,  the 
Lodge-Maker  took  a  large  rawhide  which  he  had  brought  into  the 
lodge  with  him,  folded  in  the  shape  of  a  parfleche,  and  passed  it  over 
the  incense  four  times,  and  then  carried  it  to  the  southeast  corner  of 


44         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

the  tipi,  where  two  or  three  men  of  the  Star  society  were  gathered. 
Holding  it  out  in  front  and  at  one  side  of  him,  he  swung  it  gently 
backward  and  forward  three  times,  and  on  the  fourth  time,  threw  it 
in  front  of  the  seated  men,  who  beat  upon  it  with  sticks  and  shouted. 
This  act  marks  the  termination  of  the  fourth  of  the  sacred  songs,  which 
are  only  sung  in  the  Rabbit-tipi. 

They  now  began  the  rehearsal  of  Sun  Dance  songs  to  be  sung 
during  the  following  days  of  the  ceremony.  The  songs  during  the 
rehearsal  were  accompanied  by  the  beating  of  sticks  on  the  rawhide 
by  the  singers  and  by  the  motion  of  a  rattle  held  in  the  hands  of 
Hawkan.  After  singing  for  some  time  nearly  all  left  the  tipi  except 
the  Lodge-Maker  and  his  wife,  who  from  this  time  forth  partook  of 
no  food  until  the  night  of  the  erection  of  the  Offerings-lodge.  It  was 
now  about  two  hours  after  midnight. 

SECOND  DAY,  1901;  SECOND  AND  THIRD  DAYS,  1902. 

For  reasons,  already  given,  which  hastened  the  performance,  many 
events  were  crowded  into  this  day,  which,  in  the  1902  ceremony  were 
properly  extended  over  two  days.  This  second  day,  then,  may  be  said 
to  correspond  to  the  second  and  third  days  of  the  1902  celebration. 

THE  SWEAT-LODGE. 

It  is  to  be  expected  that,  in  a  ceremony  so  important  as  the  Sun 
Dance,  the  sudatory,  as  a  means  of  bodily  purification,  would  play  a 
prominent  part,  for  rarely  is  any  serious  affair  undertaken  by  the 
Arapaho  without  this  bath,  accompanied  by  its  attendant  rites. 

OMITTED  IN  190L 

According  to  the  ordinary  method  of  procedure  in  the~  Sun  Dance 
ceremony,  a  large  Sweat-lodge  should  have  been  erected  on  this  morn- 
ing to  the  north  and  near  the  Rabbit-tipi.  On  account  of  the  fact, 
however,  that  they  were  pressed  for  time,  it  was  decided  by  the  lead- 
ing men  to  dispense  with  this  part  of  the  ceremony.  Certain  of  the 
more  active  participants,  however,  had  already  gone  through  this 
purification  ceremony,  while  others  were  to  perform  it  in  the  Sweat- 
lodges,  near  their  tipis,  on  this  or  the  following  day. 

THE  SWEAT-LODGE,  1902. 

With  the  increased  amount  of  time  at  the  disposition  of  the  priests 
during  the  1902  ceremony,  opportunity  was  offered  for  the  erection  of 
the  Sweat-lodge.      This,  however,  was  not  done  on  the  morning  of  the 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  VI. 


PL.  VI.    Laying  out  the  Sweat-lodge.    Third  Day,  1902. 


Fig.  I.     Hdwkan  choosing  the  site  of  the  lodge.  <. 

Fig.  2.     Rabbit-tipi  priests  beginning  to  place  in  position  the  willows  for  the  ^ 

Sweat-lodge,  under  Hdwkan's  direction.  j 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey,  45 

second  day,  but  on  the  evening  of  the  third  day,  i.  e.,  after  all  the 
ceremonial  objects  to  be  used  later  in  the  Offerings-lodge  proper  had 
been  prepared.  Inasmuch,  however,  as  according  to  my  informant, 
the  Sweat-lodge  belongs  properly  to  the  second  day,  an  account  of  the 
ceremony  as  witnessed  this  year,  will  not  be  out  of  place  at  this  point. 

THE  GROUND  MARKED  OUT 

It  was  about  half-past  five  o'clock,  when  Hawkan,  Watdngaa,  and 
Debithe  left  the  Rabbit-tipi  and  started  toward  the  west,  looking  for  a 
suitable  place.  This  they  found  at  a  distance  of  about  fifty  feet  west 
of  the  lodge.     (See  Fig.  i,  Plate  VI.) 

This  spot  they  circled  around  in  single  file  in  a  sunwise  fashion; 
then  Hdwkan  touched  the  first  finger  of  his  right  hand  to  the  ground, 
then  to  his  mouth,  took  a  bite  of  root,  spat  five  times,  pointing  like- 
wise with  the  pipe-stem,  and  then  marked  off  the  four  corners  and 
center  of  a  piece  of  ground  about  one  foot  square.  The  first  of  the 
tour  motions  with  the  pipe-stem,  of  course,  began  with  the  southeast, 
the  fifth  ending  with  the  center. 

Watdngaa  with  an  axe  loosened  the  grass  from  the  plot  of  ground 
indicated  by  Hdwkan  with  the  pipe-stem,  removed  the  grass  and  placed 
it  upon  a  blanket.  Having  removed  the  grass,  Watangaa  then  loosened 
the  soil  with  his  axe,  until  he  had  finally  made  a  circular  excavation 
abput  eight  inches  in  depth,  with  perpendicular  sides.  In  the  center 
of  this  excavation  he  made  a  small  excavation  three  inches  in  diameter, 
and  about  two  inches  in  depth.  The  earth  from  the  excavation, 
together  with  the  grass,  were  taken  up  in  the  blanket  and  deposited  in 
the  form  of  a  little  mound  fifteen  feet  due  east. 

Hdwkan  sat  down  on  the  east  side  of  the  excavation  with  his  legs 
at  full  length  in  front  of  him.  In  this  fashion  he  gained  an  idea  as  to 
the  required  size  of  the  lodge.  This  done,  he  took  the  axe  and  care- 
fully removed  the  grass  over  a  surface  about  a  foot  in  width  and  about 
four  feet  long,  toward  the  east.  The  end  of  this  space  was  to  be  at 
the  entrance  of  the  lodge,  and  along  this  bared  way  the  hot  stones 
were  to  be  introduced  later  on. 

Hdwkan  then  with  his  pipe-stem  pointed  toward  the  south  and 
eastern  corner  of  this  cleared  space,  thus  indicating  the  position  of  the 
first  of  the  Sweat-lodge  poles.  Taking  one  of  the  small  willow  poles 
near  by,  and  which  had  been  especially  provided  for  the  erection  of 
the  Sweat-lodge  by  the  members  of  one  of  the  warrior  societies,  he 
tnen  measured  the  distance  between  this  point  and  the  eastern  rim  of 
.the  excavation,  passed  around  to  the  west  of  the  excavation,  and  meas- 
ured off  a  similar  space  in  that  direction,  thus  locating  the  position  for 


46         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

the  second  lodge-pole.  The  positions  of  the  other  poles  were  now 
located,  the  third  one  being  on  the  northeast  from  the  excavation,  the 
fourth  on  the  northwest,  the  fifth  on  the  southeast,  while  the  remainder, 
up  to  the  number  of  sixteen  in  all,  were  indicated  by  Hdwkan  without 
further  ceremony,  in  a  sunwise  circuit. 

THE  ERECTION  OF  THE  SWEAT-LODGE. 

In  th6  mean  time,  Debithe,  Watdngaa,  VVatanah,  and  Chanitoe 
had  begun  inserting  some  slender  willow  poles  in  the  ground,  the  north 
and  south  poles  being  first  interlaced,  then  the  east  and  west  poles. 
After  all  the  poles  which  had  been  inserted  in  the  ground  had  been 
interlaced,  so  as  to  form  a  dome-shaped  structure,  a  long,  slender  pole 
was  thrust  through  by  VVatangaa,  from  the  west  side.  Neither  the 
base  nor  the  tip  of  this  pole  touched  the  earth.  All  these  poles  had 
been  denuded  of  their  boughs  except  at  the  very  tips.  (See  Fig.  2, 
Plate  VI.,  and  Figs,  i  and  2,  Plate  VII.) 

While  these  priests  were  erecting  the  lodge,  a  large  quantity  of 
bark  was  brought  by  some  of  the  boys  and  deposited  to  the  southeast 
of  the  lodge.  The  four  messengers  had  in  the  mean  time  also  gone 
about  the  camp-circle  collecting  pieces  of  canvas,  quilts,  blankets, 
etc.,  with  which  to  cover  the  lodge  when  completed.  (See  ¥\g.  i, 
Plate  VIII.)  One  of  the  priests  gathered  a  bundle  of  sage,  which  he 
carried  inside  and  spread  entirely  around  the  floor  of  the  lodge,  in  a 
circular  form,  the  stems  of  the  sage  pointing  toward  the  fireplace, 
except  for  the  space  lying  between  the  doorway  of  the  lodge  and  the 
fireplace,  which  remained  barren. 

One  of  the  priests  now  brought  out  from  the  Rabbit-tipi  the 
painted  buffalo  skull,  and  carrying  it  slowly  and  carefully  in  front  of 
him,  stooping  over  as  he  did  so,  he  placed  it  upon  the  little  mound 
of  earth  to  the  east  of  the  lodge,  so  that  the  skull  looked  directly  into 
the  lodge.  Watdnah  then  brought  out  the  Wheel,  wrapped  it  in  its 
recently  offered  coverings,  and  placed  it  in  a  flat  position  on  top  of 
the  skull,  so  that  the  feathers  extended  toward  the  west  and  fell  down 
over  the  forward  projection  of  the  skull.  Watdnah  next  brought  from 
the  Rabbit-tipi  the  rattle  and  a  bag  of  spruce-leaves,  which  he 
deposited  south  of  the  skull. 

While  these  preparations  were  going  on,  the  messengers  had 
started  a  fire  over  a  pile  of  stones,  to  which  they  now  added  the  load 
of  bark.  (See  Plate  IX.)  Pails  of  water  were  also  brought  and  placed 
between  the  fire  and. the  door  of  the  lodge,  by  other  messengers. 


^^j^^J^^ji^.)!;.!^ 


Pl.  VII.    Erecting  the  Sweat-lodge.   Third  Day,  1902. 


Fig.  I.    Rabbit-tipi  priests  and  Dog-soldiers  constructing  the  Sweat-lodge. 
Fig.  2.    Watdngaa  placing  in  position  the  final  pole  of  the  Sweat-lodge. 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,   PL.  VII. 


Pl.  VIII.    Completing  the  Sweat-lodge.    Third  Day,  1902. 


Fig.  I.     Rabbit-tipi  priests  covering  framework  of  Sweat-lodge  with  blankets. 
Fig.  2.    Framework  of  Sweat-lodge  after  the  ceremony.     In  the  center  may 
be  seen  the  pile  of  heated  stones. 


FIELD   COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  VIII. 


i^' 

n  1  «C;.              m^^Kf^ 

^ 

^LrV  IKt^af^^^^^B 

'^^^1 

FIG.  1. 


^^^^^^ 

gfc-^,.      '  ■-■*«*■ 

.^--/- 

i^OK^ 

n^'          ^^^ 

^^p^il 

B^. ' 

1 

*-       "T           '^,     •     1 

^^1 

'^^^H 

iff  '>  ■■  -r. 

^^^^^^^^^^^^^^^^^^^^^^^^E. . 

-      ._           <>*• 

1  iB 

PL.  IX.    Sweat-lodge  and  Rabbit-tipl   Third  Day,  1902. 


General  view,  showing,  beginning  on  the  right,  the  pile  of  firewood  of  cotton- 
wood  bark,  the  fireplace,  the  framework  of  the  Sweat-lodge  and  the  Rabbit-tipi. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  47 

THE  WHEEL  CARRIED  INTO  THE  SWEAT-LODGE. 
Watdnah  now  took  up  the  Wheel  from  the  skull,  and  carrying  it 
upon  calico  coverings,  entered  the  Sweat-lodge  with  it,  and  placed  it 
to  the  west  of  the  fireplace,  the  head  of  the  snake  facing  the  east. 
The  rattle  and  bag  of  spruce-leaves  he  then  carried  in  and  placed 
south  of  the  Wheel.  Nishnat^yana  now  approached,  carrying  a  filled 
pipe,  which  he  deposited  in  front  of  the  buffalo  skull,  the  bowl  point- 
ing upward  and  the  stem  pointing  toward  the  south.  Chanltoe  now 
approached  the  lodge,  knelt  just  at  the  door,  lifted  up  both  hands,  and 
uttered  a  prayer.  Entering,  he  sat  down  at  the  north  of  the  Wheel, 
backward. 

INCENSE  BURNED. 

One  of  the  messengers  now  passed  within  the  lodge  a  live  coal, 
whereupon  the  door  of  the  lodge  was  closed.  Watdnah  was  heard  pray- 
ing, and  it  is  known  that  just  after  concluding  his  prayer,  the  coal  was 
deposited  in  the  little  hole  in  the  center  of  the  base  of  the  fireplace, 
and  upon  which  the  spruce-leaves  were  placed,  the  interpretation  of 
this  act  being,  that  this  act  is  a  purification  ceremony  and  that  the 
prayer  of  Watdnah  was  answered  as  soon  as  the  particular  god  to  whom 
the  prayer  was  offered  became  conscious  of  the  odor  of  the  incense. 
It  will  be  noticed  also  that  this  offering  of  incense  was  performed 
before  any  considerable  number  had  entered  the  lodge.  The  reason 
of  this  was  because  the  rite  of  the  offering  of  the  incense  in  the  fire- 
place is  unknown  to  the  minor  priests  of  the  lodge. 

After  a  few  moments  the  door  of  the  lodge  was  opened  by  one  of 
the  priests  within,  and  other  priests  now  approached  and  went  inside. 
Each  man,  as  he  entered,  halted  at  the  door,  lifted  both  hands,  and 
uttered  a  prayer.  Each  also  carried  a  small  branch  of  cottonwood. 
As  the  Lodge-Maker,  the  substitute  Lodge-Maker,  and  his  wife  came 
up,  they  drank  from  one  of  the  pails  and  vomited  before  entering  the 
lodge.  On  account  of  the  darkness,  the  position  of  those  within  was 
now  made  out  with  some  difficulty,  but  it  is  believed  that  they  sat 
within  the  lodge  in  the  following  order,  beginning  on  the  south  side, 
next  to  the  door — Watdngaa,  Debithe,  with  the  Lodge-Maker  behind 
the  Wheel,  Chanftoe,  Baihoh  (Old-Bear),  or  Blindy,  Hin^nwatani 
(Black-Man),  and  Watdnah.  Bech^aye  also  entered  the  lodge,  but 
where  she  sat  was  not  known. 


48         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

CEREMONIAL  SMOKING. 

Before  the  covering  for  the  door  of  the  lodge  had  been  put  in 
place,  Watdngaa,  reaching  across  the  fireplace  from  his  position  at  the 
south  door,  took  up  the  pipe,  which  he  lighted  from  a  coal  now  brought 
him  by  one  of  the  messengers.  After  puffing  on  the  pipe  for  a  few 
moments  to  get  it  thoroughly  lighted,  he  pointed  the  stem  toward  the 
east,  toward  the  Wheel,  and  toward  the  fireplace,  and  then  smoked. 
The  pipe  was  then  passed  around  the  circle  to  Watanah,  north  of  the 
door,  each  taking  a  few  whiffs.  The  pipe  was  then  passed  back  to 
Watdngaa  unsmoked,  whereupon,  it  again  made  the  circuit  sunwise, 
being  smoked  by  each  individual  as  before.  Thus  the  pipe  made  the 
circuit  four  times,  when  it  was  passed  out  of  the  lodge  and  placed  on 
the  north  side  of  the  buffalo  skull. 

The  stones  were  now  thoroughly  heated,  and  were  passed  into  the 
lodge,  one  by  one,  by  the  messengers.  The  first  five  stones  passed 
in  were  deposited,  one  by  one  at  the  door,  when  they  were  taken 
up  by  Watangaa  with  a  fork-shaped  stick,  and  placed  on  the  fire- 
place, the  first  one  being  at  the  southeast  corner  of  the  fireplace, 
the  second  at  the  southwest  corner,  the  third  at  the  northwest,  the 
fourth  at  the  northeast,  and  the  fifth  in  the  center  just  over  the 
smaller  and  deeper  excavation  in  which,  shortly  before,  the  offering 
of  spruce-leaves  had  been  made.  Other  stones,  then,  to  the  number  of 
about  twenty-five,  were  passed  in,  and  were  piled  up  indiscriminately 
upon  these,  until  the  pile  was  over  a  foot  in  height.  Blankets,  which 
had  been  worn  by  those  within  as  they  entered  the  lodge,  were  now 
passed  to  the  messengers  outside.  Two  buckets  of  water  and  a  dipper 
were  now  passed  in,  and  one  or  two  additional  men  entered. 

Although  the  door  of  the  lodge  still  remained  open,  the  heat 
within  at  this  time,  was  excessive,  and  the  bodies  of  the  men  were 
bathed  with  perspiration.  It  is  probable  that  the  heat  registered  not 
less  than  145°.  From  the  two  buckets  of  water  standing  just  inside 
and  near  the  fireplace  a  cupful  was  taken  up  and  passed  to  each 
member,  who  on  receiving  the  cup,  drank  a  little  and  poured  the 
remainder  on  his  head  and  body.  The  odor  of  the  fresh  sage  at  this 
time  was  very  pungent. 

THE  CEREMONIAL  BATH. 

The  two  servants  outside  then  thoroughly  covered  the  opening  of 
the  lodge.  Watdnah  uttered  a  prayer,  followed  by  Chanitoe  this  time, 
the  prayer  being  accompanied  by  the  shaking  of  the  rattle  in  the  hands 
of  Watdngaa. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  49 

At  the  conclusion  of  this  performance,  a  song  was  begun,  the  tune 
being  the  same  as  that  sung  on  the  previous  night  in  the  Rabbit-tipi. 
This  song  was  also  accompanied  by  the  shaking  of  the  rattle.  The 
singing  now  continued  for  about  twenty  minutes,  during  which  time 
water  was  gradually  poured  upon  the  stones.  From  time  to  time,  one 
or  another  of  those  inside  was  heard  crying  or  praying,  while  the 
two  messengers  outside  threw  themselves  down  near  the  door  and 
joined  their  lamentations  with  those  within.  As  has  been  explained 
before,  this  is  spoken  of  as  "weeping  for  mercy,"  and  may  be  regarded 
as  a  form  of  supplication.  Above  the  singing  and  lamentation  of  the 
priests  was  also  to  be  heard  the  noise  made  by  the  lashing  of  their 
naked  bodies  with  the  cottonwood  boughs. 

At  the  conclusion  of  the  singing,  some  one  inside  gave  the  word 
to  the  servant  to  remove  the  covering  from  the  door.  This  was  not 
only  done,  but  the  curtains  were  lifted  on  the  west  side  of  the  lodge. 
In  this  manner  the  priests  remained  within  the  lodge  for  a  period  of 
about  fifteen  minutes,  when  the  Wheel  was  passed  out  to  Hdwkan. 
Watdnah  then  made  four  motions  toward  the  skull,  picked  it  up,  and 
carried  it  back  to  the  Rabbit-tipi,  where  it  was  placed  in  its  usual 
position.  Hdwkan  followed,  carrying  the  Wheel,  which  was  also 
replaced  as  before.     (See  Plate  V.) 

SYMBOLISM  OF  THE  SWEAT-LODGE. 

The  little  cleared  path  between  the  fireplace  and  the  door  of  the 
Sweat-lodge  is  the  road.  It  is  cleared  because  the  tribe  wish  to  prosper 
and  live  in  happiness  so  long  as  the  earth  lasts. 

The  circular  excavation  inside  the  Sweat-lodge,  where  the  heated 
stones  are  placed,  is  called  "Opened-Brains,"  reference  being  made 
to  a  certain  myth.  The  little  hole  inside  of  this  excavation,  in  which 
the  incense  is  placed,  is  the  navel  of  the  mother;  it  is  the  place  of  our 
birth,  the  sipapu  of  the  Hopi,  the  earth  representing  the  mother.  (See 
Fig.  2,  Plate  VIII.)  The  incense  which  is  placed  on  the  "navel"  is 
offered  to  the  Four-Old-Men,  for  the  reason  that  they  are  constantly 
watching,  in  winter  and  summer,  and  during  the  day  and  night.  They 
control  the  wind  and  cause  it  to  blow  according  as  they  feel 
sympathy. 

They  take  a  sweat  in  the  lodge  because  they  want  to  be  cleansed 
from  former  sins,  evil  desires,  and  be  protected  from  all  kinds  of 
plagues,  etc. 

The  singing  inside  of  the  Sweat-lodge,  both  in  tone  and  in  words, 
is  similar  to  that  in  the  Rabbit-tipi.      The  songs  are  sung  with  deep 


50         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

thought  and  in  accordance  with  the  voices  of  nature.  There  are 
seven  different  songs,  each  with  two  verses;  hence,  if  the  songs  are 
repeated  twice,  it  makes  twenty-eight  in  all. 

THE  LODGE-MAKER  SOLICITS  AID. 

Concerning  this  interesting  performance  no  observations  were 
made  during  the  performance  of  1901,  nor  was  any  direct  information 
gained  from  Hawkan.  The  ceremony  took  place,  in  1902,  in  the 
morning  of  the  third  day.  Early  in  the  morning  the  voice  of  the 
Crier  was  heard  outside  the  tipi,  calling  about  the  circle  for  the  Rabbit- 
tipi  people  to  hurry  to  the  tipi.  When  the  priests  were  assembled 
within  the  tipi,  Hdwkan  passed  to  NishnatSyana  cups  of  the  lime 
paint,  which  had  been  brought  in  by  the  sister  of  the  Lodge-Maker,  to 
which  the  latter  added  water  and  mixed.  After  thoroughly  mixing 
the  cups  of  paint  he  placed  them  in  front  of  Hawkan.  One  of  the 
messengers  brought  in  live  coals,  which  were  placed  upon  the  fireplace. 
Wadtanakashi  then  went  to  Hocheni,  placed  his  hands  upon  his  head 
and  prayed.  One  of  the  cups  of  paint  was  now  passed  to  Hdcheni. 
Wadtanakashi  now  sat  down  in  front  of  Hocheni,  with  his  legs  in  front 
of  him  and  his  knees  drawn  up  towards  his  chin.  Hdwkan  took  a  live 
coal,  placed  it  at  one  side  of  Hocheni,  and  upon  it  dropped  a  pinch  of 
spruce-leaves.  Hocheni  then  dipped  his  hands  in  the  cup  of  paint  and 
rubbed  them  together,  smearing  the  palm  of  each  hand  thoroughly 
with  the  paint.  He  then  with  the  forefinger  of  his  right  hand  drew 
two  parallel  lines  lengthwise  across  the  palm  of  his  left  hand,  and  one 
line  lengthwise  across  the  palm  of  his  right  hand  with  the  forefinger 
of  his  left.  He  then  held  both  hands,  palms  downward,  over  the  rising 
incense,  and  passed  his  hands  from  the  toes,  up  the  legs  and  sides  of 
the  body,  to  the  head  of  the  man  in  front  of  him.  This  he  did  four 
times,  drawing,  however,  two  lines  in  the  palm  of  his  right  hand  and 
one  in  the  palm  of  his  left  hand  before  making  the  second  movement 
over  the  body,  and  reversing  this  operation  at  the  third  and  again  at 
the  fourth  time.  Wadtanakashi  then  turned  his  back  to  Hocheni,  who 
smeared  it  with  paint,  but  without  regularity  or  ceremony.  Wadtana- 
kashi  then  arose,  took  the  cup  of  paint,  and  going  near  the  door  of  the 
tipi,  proceeded  to  paint  himself  from  head  to  foot,  including  his  hair 
and  face,  giving  his  entire  body  a  thorough  coat  of  the  white  paint. 

The  Lodge-Maker  now  took  his  place  in  front  of  Hdcheni,  and 
was  painted  in  the  manner  just  described,  whereupon  he  also  took  the 
cup  of  paint,  went  over  to  the  door,  and  smeared  his  body  with  the 
white  paint  from  head  to  foot.  Both  stood  near  the  door  after  paint- 
ing, until  they  were  thoroughly  dry. 


Pl.  X.    NiwAAT,  HIS  Associate  and  Grandfather.   Third  Day,  1902. 


Before  making  tour  of  the  camp-circle  to  solicit  assistance:  On  the  right, 
Nishnateyana;  in  the  center,  Niwaat,  the  Lodge-Maker;  and  on  the  left, 
Watdngaa.  The  two  Lodge-Makers  have  just  received  a  coat  of  lime  paint.  In 
front,  and  on  the  ground,  are  their  buffalo  robes. 


Pl.  XI.    The  Lodge-Makers  on  their  Return  from  the  Solicitation  of  Assist- 
ance.  Third  Day,  1902. 


Occupying  the  space  between  the  Rabbit-tipi  and    the  two  men  are  the 
bales  and  trunks  of  blankets  which  have  been  presented  to  them. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  51 

Food  was  now  passed  in  and  placed  in  the  usual  ceremonial  position 
about  the  fireplace,  whereupon  a  bowl  containing  rice  was  placed  in 
front  of  Hocheni,  who  dipped  a  piece  of  sage  in  it  and  passed  it  to  the 
Lodge-Maker,  who  now  stood  in  front  of  him.  The  Lodge-Maker 
then  nade  the  offering.  Beginning  in  the  southeast  corner,  lifting  the 
sage  on  high,  he  touched  it  gently  to  the  ground,  then  passed  to  the 
southwest,  northwest,  and  northeast  corner,  and  then  contiuning  on 
around  the  lodge  in  a  sunwise  circuit,  he  halted  in  front  of  the  skull, 
made  four  passes  over  it,  and  deposited  the  sage  under  its  jaw. 

Both  now  put  on  their  buffalo  robes,  went  outside  the  lodge,  and 
put  on  their  moccasins.  Nishnat^yana  now  left  the  lodge  and  told 
them  where  to  begin,  and  how  they  should  proceed.  (See  Plate  X.) 
They  then  started  off  toward  the  northwest  corner  of  the  camp-circle, 
followed  by  the  four  servants.  Having  arrived  at  a  tipi  at  this  point 
of  the  circle,  they  pleaded  for  assistance  with  which  to  compensate 
the  priests  for  their  work  in  the  ceremony.  From  this  lodge,  they 
went  to  the  next  lodge,  and  so  on,  around  the  circle  in  sunwise  man- 
ner. As  fast  as  the  large  bales  of  blankets,  calico,  etc.,  were  collected, 
they  were  carried  by  one  of  the  servants  and  deposited  just  at  the 
southeast  side  of  the  Rabbit-tipi.     (See  Plate  XL) 

The  time  consumed  by  the  Lodge-Maker  and  his  associate  in 
making  the  round  of  the  camp-circle  was  about  two  hours.  The  total 
contributions  amounted  to  four  large  bales  and  two  trunks  of  blankets, 
pieces  of  calico,  shawls,  and  other  similar  gifts,  which  were  left  outside 
the  lodge  until  evening.  Within  the  Rabbit-tipi,  during  their  absence, 
the  priests  had  partaken  of  their  usual  morning  feast. 

THE  CEDAR  TREE,  1902. 

Owing  to  the  lack  of  time  in  the  1901  performance,  and  owing 
more  especially  to  the  lack,  of  necessity,  on  account  of  the  lateness  of 
the  season,  the  cedar  tree,  which  ultimately  forms  a  part  of  the  altar, 
was  not  secured  until  required  for  actual  use  on  the  altar.  In  X902, 
however,  owing  to  the  great  heat,,  and  owing  to  the  fact  that  there 
was  ample  time  for  the  carrying  out  of  the  details  of  the  ceremony,  it 
was  brought  into  the  camp-circle  at  the  proper  time. 

Shortly  after  the  Lodge-Maker  and  his  substitute  began  making 
the  journey  around  the  camp-circle  for  the  collection  of  presents, 
Two-Crows,  a  chief  of  the  Arapaho  and  formerly  a  servant  of  the  Sun 
Dance  priests,  entered  the  tipi,  stood  facing  the  west,  lifted  his  hands 
over  the  altar,  and  prayed.  He  then  sat  down  on  the  north  side  of  the 
lodge,  whereupon  Hawkan  told  him  how  he  should  secure  the  tree, 
how  high    it    should    be,   etc.      He    then    started    off   after  the   tree. 


52         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

Returning  late  in  the  afternoon,  he,  with  the  assistance  of  two  or  three 
of  the  Dog-soldiers,  placed  the  tree,  about  twenty  feet  in  height,  just 
west  of  the  Rabbit-tipi,  thus  affording  much  desired  protection  from 
the  afternoon  rays  of  the  sun.  (See  Plates  XII.  and  V.)  Later  on, 
as  will  be  seen,  it  formed  an  essential  feature  of  the  altar  in  the 
Offerings-lodge. 

RITES  WITHIN  THE  RABBIT-TIPI. 

The  consideration  of  further  events  of  this  day,  which  also  includes 
the  supplemental  observations  made  on  the  second  and  third  days  of 
the  1902  performance,  may  be  referred  to  those  which  took  place 
within  the  Rabbit-tipi  and  those  which  took  place  without.  Although 
certain  events  had  their  origin  inside  this  secret  lodge  and  were  com- 
pleted outside,  yet  it  is  believed  that  this  method  contributes  to  a  more 
intelligent  understanding  of  the  ceremony. 

THE  LARIAT  FOR  THE  CENTER-POLE. 

Early  in  the  morning,  Hawkan  returned  to  the  Rabbit-tipi  and 
was  soon  followed  by  other  leaders  of  the  ceremony.  After  the  men 
had  indulged  in  smoking  and  had  partaken  of  the  feast  which  had 
been  brought  in  by  the  families  of  the  dancers,  Sosoni  cut  a  long  strip 
from  the  rawhide,  which  as  has  been  mentioned,  was  brought  in  the 
night  before.  This  strip  was  about  ten  feet  long  and  about  three- 
quarters  of  an  inch  wide.  She  handed  it  to  Chanltoe,  who  passed  it 
from  end  to  end  over  live  coals  upon  which  had  been  placed  bits  of 
spruce.  With  the  assistance  of  Waakdtani,  Chanitoe  now  measured 
the  strip,  and  having  located  its  center,  they  proceeded  to  paint  it, 
coloring  one  half  of  it  black,  the  other  half  red. 

The  preparation  of  the  lariat  for  the  tying  of  the  bundle  to  the 
center-pole,  in  1902,  was  conducted  in  the  following  manner:  The 
wife  of  the  "grandfather"  of  the  Lodge-Maker,  Thiyeh,  immediately 
after  the  buffalo  robe  to  be  worn  by  the  Lodge-Maker  had  been  pre- 
pared, brought  into  the  Rabbit-tipi  a  large  rawhide,  which  he  deposited 
in  front  of  Nishchdnakati.  She  then  knelt  in  front  of  him,  placing  her 
hands  on  his  head,  and  then  with  the  pipe-stem  made  the  five  cere- 
monial passes  toward  the  rawhide,  spitting  each  time  toward  it,  as  he 
pointed  with  the  stem.  Thiyeh  then  took  the  robe  outside  of  the 
lodge  to  cut  it,  it  being  more  easily  handled  outside  than  in,  on  account 
of  the  lack  of  room.  (See  Plate  XIII.)  Having  cut  the  rawhide  into 
one  long  continuous  strip,  she  entered  the  lodge  with  it,  bearing  also 
the  knife  which  she  had  used  in  cutting  it,  and  the  scraps  or  refuse 
which  remained  after  preparing  the  strip.     The  knife  and  scraps  she 


Pl.  XII.   Chief  Two-Crows,  Unloading  the  Cedar  Tree  by  the  Rabbit-tipi.  i 

Third  Day,  1902.  j 


Standing  by  the  side  of  the  Rabbit-tipi  is  Hdwkan;  sitting  in  front  of  him  ^ 

are  His^haseh  and  Nishchandkati.  } 


PL.  XIII.   THfYEH.    Second  Day,  1902. 


Wife  of  Nishnat^yana,  in  front  of  the  Rabbit-tipi  preparing  the  rawhide 
lariat  to  be  used  in  fastening  the  bundle  of  willows  to  the  center-pole. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  53 

put  by  the  side  of  the  paint  bags,  which  were  lying  to  the  south  side 
of  the  skull,  and  handed  the  rawhide  strip  to  Debithe,  who  doubled  it 
in  the  middle. 

Debithe  took  a  bag  of  red  paint  from  the  side  of  the  skull,  while 
Chanltoe  took  a  bag  of  black  paint,  both  of  which  were  opened. 
Debithe  received  from  Hawkan  a  bag  of  spruce-leaves,  a  pinch  of 
which  he  placed  on  a  live  coal  in  front  of  him.  Debithe  then  took  a 
bit  of  red  paint  which  he  softened  with  tallow  and  rubbed  thoroughly 
between  the  palms  of  his  hands,  then  held  the  palms  of  his  hands  in 
front  of  him  in  a  horizontal  position  over  the  rising  incense.  He 
then,  maintaining  his  hands  in  the  same  position,  held  them  over  the 
incense  so  that  the  left  hand  was  uppermost.  They  were  again 
reversed  so  that  the  right  hand  was  uppermost,  then  the  left.  The 
hands  were  thus  held  in  this  position  four  times,  and  at  the  fifth  time, 
they  were  held  so  that  the  palms  were  in  a  perpendicular  position. 
Chanitoe  went  through  a  similar  movement  with  the  black  paint. 
They  then  proceeded  to  paint  the  strip  of  rawhide  between  them, 
Debithe  painting  one  half  red,  while  Chanitoe  painted  the  other  half 
black.  Having  completed  painting  both  sides  of  the  strip,  it  was 
placed  by  Hawkan  near  the  wall  of  the  tipi,  at  the  south  and  west  of 
the  Lodge-Maker. 

FILLING  THE  STRAIGHT-PIPE. 

The  secret  of  the  symbolic  manner  of  filling  the  sacred  pipe  was, 
until  this  year,  known  only  to  Hawkan,  and  was  not  witnessed  by  the 
author  in  1901.  Hawkan,  however,  fearing  longer  to  be  the  sole 
owner  of  this  right,  the  privilege,  together  with  the  manner  of  filling 
the  pipe,  were  consequently  transmitted  by  him  to  Watanah.  The 
ceremony  was  performed  in  the  Rabbit-tipi,  of  course,  at  about  five 
o'clock  in  the  afternoon  of  the  second  day  of  the  erection  of  that 
lodge.  In  1901,  the  pipe  was  filled  earlier  in  the  day,  and  should  have 
been  filled  in  1902  just  after  the  preparation  and  decoration  of  the 
rawhide  lariat. 

Seating  himself  just  south  of  the  skull,  he  picked  up  a  small 
bundle,  which,  up  to  this  time,  had  been  lying  by  the  side  of  the  paints 
and  other  paraphernalia  south  of  the  skull,  which  he  unwrapped,  dis- 
closing a  black  stone  pipe  enveloped  in  a  very  ancient  looking  oriole's 
nest,  frorn  which  the  pipe  was  removed  and  placed  upon  the  nest. 
Hawkan  then  spread  a  piece  of  cloth  in  front  of  the  pipe,  upon  which 
he  deposited  five  pinches  of  tobacco,  placing  the  first  one  in  the  south- 
east corner,  the  second  one  in  the  southwest,  the  third  in  the  north- 
west, the  fourth  one  in  the  northeast,  and  the  fifth  one  in  the  center. 


54         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

To  each  pile  of  tobacco,  following  the  same  sunwise  circuit,  he  then 
added  a  small  pinch  of  black  paint.  Next  was  added  a  pinch  of  red 
paint  to  each  of  the  piles.  He  then,  with  the  first  finger  of  his  right 
hand,  shoved  each  of  the  four  outlying  piles  to  the  central  pile, beginning 
with  that  of  the  southeast.  To  the  single  pile  thus  formed,  he  added 
additional  tobacco,  and  thoroughly  mixed  the  tobacco  with  the  paint. 

Touching  his  forefinger  to  the  ground,  and  then  touching  his 
tongue,  and  taking  a  bite  of  root,  he  spat  four  times  toward  the  pipe, 
picked  it  up,  added  an  old  straight  stem,  circular  in  shape,  in  ^cross 
section,  which  iie  fastened  to  the  bowl,  tying  it  by  means  of  a  cord, 
which,  up  to  this  time,  had  been  loosely  wrapped  around  the  bowl,  and 
then  uttered  a  prayer.  He  then  rested  the  point  of  the  stem  upon 
the  ground  and  held  the  pipe  with  both  hands,  with  the  bowl  up. 
Chanitoe  took  up  a  pinch  of  tobacco,  spat  toward  the  bowl,  and  placed 
the  tobacco  inside  of  the  bowl.  He  did  this  a  second,  third,  fourth, 
and  fifth  time,  being  careful  as  he  added  each  pinch  to  follow  the  cere- 
monial circuit,  the  fifth  pinch  of  tobacco  being  added  to  the  pipe  in 
the  center  of  the  bowl.  Hdwkan  tamped  the  tobacco  down  four  times, 
performing  first,  however,  with  the  tamper,  the  five  ceremonial  mo- 
tions. He  then  handed  the  tamper  to  Chanitoe,  who  went  through  the 
same  performance.  The  latter  gave  a  piece  of  tallow  to  Hdwkan,  who 
rolled  it  in  the  black  paint.  He  then  spat  upon  it  five  times  and  rolled 
it  into  a  little  ball,  with  which  he  touched  the  rim  of  the  bowl  of  the  pipe 
five  times,  beginning  on  the  southeast  corner  and  ending  in  the  center; 
the  mouth  of  the  bowl  was  thus  covered  with  the  blackened  tallow. 

Hdwkan  now  gave  the  pipe  to  Chanitoe,  who  held  it  perpendicular 
to  his  body,  with  the  bowl  up,  and  pressed  it,  first  on  his  right  breast, 
and  then  on  the  left,  then  right,  then  left,  and  then  along  the  middle 
line  of  his  body.  He  then  deposited  it  just  south  of  the  buffalo  skull, 
the  bowl  extending  toward  the  fireplace  and  the  end  of  the  stem  rest- 
ing on  the  right  horn  of  the  buffalo  skull. 

THE  CEREMONIAL   DIGGING-STICK. 

In  the  mean  time,  Wadnibe,  the  wife  of  Hdwkan,  left  the  lodge 
and  returned  shortly  with  a  cottonwood  billet,  about  one  and  one-half 
inches  in  diameter  and  about  three  and  a  half  feet  long.  This  she 
fashioned  into  a  digging-stick  by  decorticating  and  sharpening  it  at  one 
end.  She  then  handed  it  to  Waakdtani,  who  daubed  it  all  over  with 
red  paint.  Nadseh  (Walking-Around),  or  Grant  Left-Hand,  a  member 
of  the  Star  society,  now  brought  in  a  bunch  of  long,  tough  grass  about 
two  feet  in  length,  which  he  passed  to  Hdwkan,  who  laid  it  on  the 
ground  in  front  of  him.      He  next  took  two  long  pieces  of  sinew,  tied 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  55 

them  together  at  one  end,  and  painted  one  of  the  strings  red  and  the 
other  black.  He  then  took  three  small  strings  of  sinew,  which  he  also 
painted  red  and  black.  These  he  placed  with  the  bunch  of  grass,  and 
with  the  long  string  of  sinew  he  fastened  the  bundle  of  grass  to  the 
digging-stick.  While  these  long  blades  of  grass  were  being  fastened 
to  the  digging-stick,  Watdnah  and  Wdaksenna  (Bear's-Lariat)  each  told 
a  war  story,  at  the  conclusion  of  which  they  trimmed  with  the  double- 
edged  knife  the  upper  ends  of  the  blades  of  grass,  even  with  the  blunt 
end  of  the  digging-stick.  The  digging-stick  was  now  thrust  through  a 
large  piece  of  buffalo  tallow  from  the  tenderloin,  which  had  first  been 
painted  half  red  and  half  black.  The  digging-stick,  with  its  grass  and 
sinew  appendage,  was  now  also  laid  by  the  side  of  the  buffalo  skull. 

THE  CEREMONIAL  DIGGING-STICK,  1902. 

In  view  of  the  importance  of  this  object,  which  occupies  such  a 
prominent  position  among  the  objects  connected  with  the  center-pole, 
a  full  description  of  its  preparation  during  the  1902  ceremony  will  be 
of  interest. 

After  the  completion  of  the  decoration  of  the  buffalo  skull, 
Nishnat^yana  brought  into  the  Rabbit-tipi  one  of  the  forked  sticks 
used  on  the  previous  day  in  staking  out  the  buffalo.  Hdwkan  received 
it  and  marked  upon  it  the  place  where  it  should  be  cut,  in  order  that 
it  might  be  of  the  proper  length.  He  then  passed  the  stick  to  his 
wife,  who  placed  it  in  front  of  Hdcheni,  and  knelt,  placing  her  hands 
upon  his  head.     She  then  addressed  to  him  a  supplication: 

th/yeh's  prayer  to  h6cheni. 

"Now,  please,  old  man,  be  merciful  to  me!  I  am  about  to  cut 
the  digging-stick  in  proper  length.  I  have  laid  everything  aside, 
because  I  took  pity  on  the  Lodge-Maker,  my  grandchild.  Although  I 
do  not  know  the  method  of  cutting  this  digging-stick,  may  I  do  the 
act  in  harmony  and  sympathy  with  our  Man-Above,  in  order  that  the 
great  undertaking  may  be  easy  and  light  for  all.  Since  you  are  here, 
old  man,  you  are  here  as  a  true  representative  of  the  great  lodge;  may 
this  digging-stick  bind  us  all,  that  we  may  succeed  in  life,  and  that  this 
lodge  may  be  carried  out  in  good  faith,  so  thdt  it  may  bring  for  us  a 
gentle  blessing  from  our  Father!" 

Hocheni  then  touched  the  ground  with  the  tip  of  the  forefinger  of 
his  right  hand,  touched  it  to  his  tongue,  took  a  bite  of  root,  and 
touched  with  his  finger  the  five  ceremonial  points  in  the  palms  of  her 
outstretched  hands,  each  motion  being  accompanied  by  the  usual 
slight  ejection  of  spittle.     He  then  repeated  the  latter  performance 


56         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

on  each  side  of  her  head,  and  once  in  the  palms  of  his  own  hands, 
which  he  rubbed  over  his  head,  and  once  again  on  the  palms  of  his 
own  hands,  which  he  rubbed  down  her  body.  She  then  took  up  an 
axe,  and  as  he  spat  toward  the  mark  indicated  by  Hdwkan,  where  the 
pole  was  to  be  cut,  she  made  the  four  usual  passes,  and  then  touched 
the  pole  with  the  edge  of  the  axe.  She  then  went  outside  of  the  tipi 
and  cut  the  pole  at  this  point. 

In  the  mean  time,  Nishnat^yana  had  left  the  lodge  and  now 
returned  with  a  bundle  of  sinew,  which  he  gave  to  Hawkan.  Presently 
the  wife  of  Nishnat^yana  entered,  with  the  digging-stick,  which  she 
passed  to  Hdwkan,  who,  in  turn,  gave  it  to  Watdnah,  who  smoothed  its 
edges  with  a  knife. 

After  the  stick  had  been  prepared,  the  priests  on  the  south  side 
sat  in  the  following  order,  beginning  next  the  skull:  Nishnat^yana, 
Watanah,  Hawkan,  Hocheni,  Watangaa,  Chanitoe,  and  Debithe. 
H6cheni  passed  Hawkan  a  piece  of  root.  The  latter  touched  the 
ground  with  his  forefinger,  touched  it  to  his  tongue,  took  a  bite  of 
root,  and  spat  in  his  hands  five  times,  placed  the  stick  and  sinew 
in  front  of  him,  and  prayed : 

hAwkan's  prayer  to  digging-stick. 

"My  Father,  Man- Above!  My  Grandmother!  I  pray  you  to  look 
down  on  us!  You  Four-Old-Men,  be  merciful  to  us  all!  May  this 
great  occasion  be  sincere,  and  meet  with  the  approval  ot  the  spirits, 
the  messengers  of  Man-Above!  This  stick  belongs  to  you;  it  has 
been  used  upon  many  occasions,  and  now  we  again  come  to  you  to  ask 
the  privilege  that  the  stick,  which  is  the  living  part  of  every  house- 
hold, may  be  made  just  and  holy  in  your  sight.  Our  old  men  and 
women  have  left  us  on  this  earth  with  poor  knowledge  of  your  secrets; 
so  help  us  to  do  these  things  in  harmony  with  you!  Let  this  stick  be 
the  upholding  power  for  us,  to  keep  our  people  in  good  health  here- 
after! May  the  making  of  this  digging-stick  be  an  aid  to  us;  may  it 
bind  our  people  together!  May  love  prevail  in  the  tribe!  May  this 
great  task  be  light  for  the  Lodge-Maker  and  for  all!" 

Hdcheni  then,  after  the  usual  rite,  spat  upon  the  stick  four  times, 
at  the  same  time  making  the  customary  passes  toward  it  with  the  pipe- 
stem.  At  the  fifth  instance,  he  touched  the  stick  with  the  stem  and 
rubbed  it  back  and  forth,  over  both  stem  and  sinew.  Hdwkan  now 
took  up  the  sinew  and  began  shredding  it,  while  Watdnah  opened  the 
bags  of  red  and  black  paint.  After  Hdwkan  had  torn  the  sinew  into 
shreds,  he  gave  one  to  Watdngaa,  two  to  Chanitoe,  two  to  Debithe, 
and  two  to  Nishnatdyana,  while  he  himself  retained  two.     The  priests 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  57 

then  moistened  the  sinew  in  their  mouths  and  smoothed  them  out  and 
twisted  them,  Hawkan  tying  his  two  together  at  one  end,  thus  forming 
a  string  of  double  length. 

A  live  coal  was  now  passed  into  the  lodge  by  one  of  the  messen- 
gers, which  was  placed  in  the  open  space  southeast  of  the  skull.  Cedar 
leaves  were  placed  upon  ifby  Hdwkan.  Watanah  rubbed  some  tallow 
in  the  red  paint,  which  he  smeared  thoroughly  between  the  palms  of 
his  hands  and  made  the  five  motions  over  the  rising  incense,  holding 
the  palms  of  his  hands,  first  so  that  the  left  hand  was  uppermost  and 
reversing  the  position  of  the  two  hands,  the  second,  third,  and  fourth 
time,  and  at  the  fifth  holding  them  so  that  the  palms  were  perpendicu- 
lar. He  picked  up  the  stick,  and  beginning  at  the  sharpened  end, 
gave  it  a  thorough  coat  of  red  paint.  Hawkan  gave  the  black  paint 
to  Watdngaa  and  to  Chanitoe,  who  painted  four  of  the  sinew  strings 
black.  Hawkan  and  Watdnah  painted  the  other  three  red,  while  the 
double  string  was  painted  half  red  and  half  black.  When  the  painting 
of  the  sinew  strings  was  completed,  Hdwkan  laid  them  out  in  front  of 
him,  parallel,  the  four  black  ones  being  at  the  right  side  and  the  three 
red  ones  on  the  left,  while  the  double  string  was  placed  between  them, 
with  its  black  end  lying  diagonally  across  the  black  string  and  the  red 
end  diagonally  across  the  red. 

Hdwkan  took  up  a  large  bunch  of  sword  grass  which  had  been 
brought  in  by  one  of  the  priests,  and  explained  to  Watdnah,  who  now 
stood  up  and  held  the  pole  in  front  of  him,  point  down,  about  the 
method  of  attaching  the  grass  to  the  pole.  Still  standing,  Watdnah 
completely  enveloped  the  pole  with  the  grass,  the  stems  of  which 
projected  beyond  the  pole  to  the  extent  of  about  six  inches.  The 
four  black  sinews  were  then  added  to  the  grass  bundle  on  the  south 
side,  while  the  three  red  sinews  were  added  on  the  north.  Debithe 
and  Watdnah  took  the  double  string  and  passed  it  around  the  pole, 
wit.h  its  accompanying  grass  envelope  and  the  sinews,  and  tied  them 
in  position.  Hdwka*n  now  selected  from  the  remaining  bundle  of 
grass  three  small  bunches,  which  he  braided  together  and  tied  to  the 
digging-stick,  the  small  end  of  the  braid  pointing  in  the  direction  of 
the  sharpened  end  of  the  stick.  The  pole  was  deposited  in  front  of 
the  priests  with  the  point  toward  the  east. 

Nishchdnakati  now  related  a  war  story,  in  which  the  taking  of  a 
scalp  played  a  prominent  part.  The  digging-stick  was  passed  to  him, 
and  with  a  double-edged  knife,  or  dagger,  he  trimmed  off  the  grass 
which  projected  beyond  the  stick,  and  passed  it  to  Watdnah,  who  put 
it  back  against  the  west  wall  ot  the  lodge,  with  the  point  toward  the 
north,  where  it  was  to  remain  until  required  on  the  following  day. 


58         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

THE  CEREMONIAL  SCALP. 

In  connection  with  the  further  preparation  of  the  digging-stick 
occurred  an  amusing  incident  in  the  1902  performance,  at  noon  on  the 
following  day,  when  as  the  priests  were  about  to  leave  the  Rabbit-tipi 
Hdwkan  reminded  them  that  all  preparations  were  not  yet  complete. 
It  has  been  pointed  out  before,that  this  conscientious  priest  was  desir- 
ous that  others  should  share  with  him  the  knowledge  and  ability  to 
perform  the  routine  rites  of  the  Rabbit-tipi,  and  on  this  year,  he 
warned  some  of  his  pupils,  especially  Watdnah  and  Watdngaa,  that  he 
should  expect  them  to  be  on  the  alert.  They  had  completely  forgot- 
ten the  fact,  which  they  must  have  observed  on  previous  years,  that 
before  the  digging-stick  could  be  regarded  as  complete,  it  must  be 
thrust  through  a  piece  of  tallow  decorated  in  a  certain  manner. 
Hdwkan  had  said  nothing  on  this  subject  on  the  previous  day  and  had 
awaited,  thus  testing  his  pupils  as  to  their  ability  properly  to  conduct 
the  lodge.  A  messenger,  therefore,  was  sent  to  one  of  the  tipis  in  the 
circle,  and  soon  returned  with  a  large  piece  of  beef  tallow,  from  the 
tenderloin.  Hawkan  now  instructed  Nishnat^yana  in  cutting  out  a 
piece  from  the  tallow,  about  six  inches  square.  Hdwkan  then  assumed 
a  position  previously  occupied  by  Nishnat^yana,  next  to  the  buffalo 
skull.  Hdcheni  then  moved  up  nearer  the  skull,  placed  the  forefinger 
of  his  right  hand  upon  the  ground,  then  to  his  tongue,  took  a  bite  of 
root,  and  spat  five  times  upon  the  tallow,  which  had  been  placed  in 
front  of  him.     A  live  coal  was  now  placed  in  front  of  Hdwkan, 

Taking  the  black  paint,  Hdwkan  drew  a  straight  line  diagonally 
across  the  tallow  from  east  to  west.  Nishnat^yana  drew  a  similar 
line  parallel  to  this,  with  red  paint,  and  painted  the  half  toward  the 
north  red.  In  the  mean  time,  Hdwkan  had  painted  the  remaining  half 
black.  This  side  of  the  tallow  was  then  turned  down  and  Hdwkan 
painted  the  other  side  entirely  black.  H6cheni  again  moved  forward 
and  took  up  the  knife.  He  now  told  a  war  story,  and  then  cut  out  a 
piece  of  tallow,  circular  in  shape,  in  the  center,  thus  "scalping"  it,  in 
accordance  with  the  war  story  which  he  had  just  related.  Hdwkan 
took  the  digging-stick  and  thrust  the  sharp  end  of  it  through  this 
circular  incision  in  the  tallow,  the  latter  being  so  held  that  the  back 
side  was  uppermost,  while  the  side  painted  half  red  and  half  black 
consequently  was  in  the  direction  of  the  sharpened  end  of  the  stick. 
It  was  then  replaced  in  the  position  it  had  occupied  over  night,  at  the 
west  wall  of  the  tipi. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  59 

THE  CEREMONIAL  KNIFE. 

A  knife  of  the  proper  character  was  not  used  during  the  ceremony 
of  1901,  owing  to  the  fact  that  it  was  not  possible  to  secure  one  in  the 
camp.  The  knife  this  year  was  obtained  from  Burnt-All-Over,  a 
Cheyenne,  who  gave  it  to  VVaatanakashi  and  Niwaat.  It  was  brought 
into  the  tipi  on  the  morning  of  the  third  day  and  placed  with  the  other 
ceremonial  paraphernalia,  south  of  the  skull.  Its  preparation  took 
place  just  after  the  completion  of  the  rites  attendant  upon  the  manu- 
facture of  the  digging-stick. 

Hdwkan  gave  shreds  of  sinew  to  Chanitoe,  Watdngaa,  Watdnah, 
and  Debithe  to  prepare.  Of  these,  three  were  painted  red  and  four 
were  painted  black,  the  rite  being  the  same  as  that  used  in  preparing  and 
painting  the  sinews  for  the  digging-stick.  Waakdtani  then  brought  in 
a  bunch  of  sage,  which  he  passed  to  Hdwkan.  The  latter  divided  it 
into  seven  piles,  which  he  laid  in  front  of  him.  Two  unpainted  pieces 
of  sinew  were  then  fastened  together  at  one  end  and  one  half  was 
painted  black,  the  other  red.  The  paint  bags  were  then  placed  south 
of  the  skull,  by  the  side  of  the  badger.  Watangaa  now  painted  four 
sage  stems  black,  while  Watdnah  painted  three  red.  The  four  black 
pieces  of  sage  were  then  placed  by  the  side  of  the  black  sinews,  and 
the  three  red  sage  stems  by  the  side  of  the  red  sinews. 

Hdwkan  1|hen  took  up  the  dagger  and  held  it  in  front  of  him, 
pointing  it  toward  the  east.  Watdngaa  then  made  four  passes  with 
his  hands  and  painted  the  south  side  black,  beginning  with  the  point 
of  the  blade  and  painting  toward  the  handle.  Watdnah  painted  the 
north  side  of  the  blade  red,  beginning  with  the  handle  and  painting 
toward  the  blade.  Hdwkan  took  up  the  black  sage  and  the  four  black 
sinews  and  laid  them  against  the  side  of  the  knife  painted  black,  while 
the  red  sage  and  red  sinew  were  placed  against  the  side  of  the  knife 
painted  red.  The  sage  and  sinew  were  then  bound  in  position  by 
means  of  the  double  thong.  The  knife  was  now  deposited  on  the 
south  side  of  the  buffalo  skull,  the  point  being  toward  the  west,  with 
the  black  side  consequently  next  the  skull. 

The  dagger  to  be  used  for  this  purpose  should  be  new,  so  that  all  may 
have  new  spirits  and  greater  energy,  for  an  old  knife  has  lost  its  life. 

THE  BUFFALO  SKULL  DECORATED. 

Next,  Hdwkan  took  three  pieces  of  sinew  and  painted  them  red, 
and  four  similar-sized  pieces  which  he  painted  black,  making  seven  in 
all,  symbolic  of  the  seven  periods  of  the  world's  history,  according  to 
Arapaho  mythology.      From  a  large  bundle  of  grass,  which  had  also 


6o         Field  Columbian  Museum — Anthropology,  Vol.  IV, 

been  brought  in  by  Chanitoe,  Hdwkan  made  a  large  object  in  a  globu- 
lar form  at  one  end,  by  bending  the  blades  of  grass  double,  the  ends 
of  which  were  cut  off  even  at  one  end.  This  he  now  painted  half  black 
and  half  red,  and  placed  it  in  the  nasal  skeleton  of  the  buffalo  skull. 
In  the  mean  time,  Chanitoe  had  made  two  similar  objects,  one  of 
which  he  painted  black  and  the  other  red.  The  black  one  he  placed 
in  the  socket  of  the  right  eye  of  the  skull,  and  the  red  one  in  the  left. 
Hdwkan,  Chanitoe,  Waakatani,  and  Debithe  now  proceeded  to  paint 
the  skull.  A  small  black  dot  was  painted  on  the  right  side  of  the  skull 
just  in  front  of  the  eye-socket.  In  a  corresponding  position  on  the 
left  was  painted  in  red  a  crescent-shaped  design.  Along  the  median 
line  of  the  skull  they  next  proceeded  to  paint  two  lines,  one  black  on 
the  right  side,  and  a  red  parallel  line  on  the  left.  The  remaining  por- 
tion of  the  skull  was  then  painted  in  rows  of  dots,  those  on  the  right 
being  black,  while  those  on  the  left  were  red.  The  painting  of  the 
skull  was  completed  by  their  daubing  black  paint  on  the  right  horn, 
and  red  paint  on  the  left.  The  skull  was  now  replaced  in  its  position 
west  of  the  fireplace. 

THE  BUFFALO  SKULL  DECORATED,  1902. 

This  ceremony,  as  witnessed  in  1902,  followed  the  painting  of  the 
buffalo  robe  in  the  forenoon  of  the  third  day.  Watanah  lifted  the 
Wheel  from  its  support,  which  was  then  pulled  up  and  thrust  in 
the  ground  north  of  the  skull,  when  the  Wheel  was  replaced.  Debithe 
took  up  the  skull  and  sat  down  in  the  southwest  corner  of  the  lodge, 
placing  the  skull  in  front  of  him.  Hocheni  then  went  through  the 
usual  motions  of  touching  the  ground  with  his  finger,  then  his  tongue, 
taking  a  bite  of  root,  spitting  five  times,  and  making  the  usual  cere- 
monial passes  with  the  pipe-stem. 

Hdwkan  provided  the  usual  spruce  leaves,  which  he  placed  over 
a  live  coal  near  the  skull.  Watdngaa  and  Chanitoe  then  mixed  black 
paint  with  tallow,  given  them  by  Watdnah,  while  Debithe  and  Watdnah 
mixed  tallow  with  red  paint.  The  four  made  the  five  ceremonial 
passes  over  the  incense,  having  first  thoroughly  rubbed  the  palms  of 
their  hands  in  the  paint.  The  two  men  having  the  black  paint  then 
proceeded  to  paint  a  slender  line  from  the  anterior  part  to  the  back  of 
the  skull.  Thus  the  line  was  said  to  have  been  given.  The  other  two, 
meantime,  painted  a  parallel  line  in  red,  but  began  at  the  base  of  the 
skull  and  painted  toward  the  anterior  end.  By  this  movement  the 
paint  was  received.  These  two  lines,  traversing  the  entire  length  of 
the  skull,  were  on  either  side  of  the  median  suture,  the  red  line  being 
on  the  left  or  north  side  of  the  suture. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  61 

The  four  next  painted  a  row  of  parallel  dots  on  either  side  of 
these  two  lines,  Debithe  and  Watdnah  painting  a  row  of  red  dots  to 
the  left  of  the  red  line,  while  Watangaa  and  Chanitoe  painted  a  row 
of  black  dots  on  the  right  side  of  the  black  line.  The  remaining  sur- 
face of  the  skull  was  then  filled  in  with  similar  dots,  those  on  the  right 
being  black,  while  those  on  the  left  were  red.  Then,  at  the  base  of 
the  skull,  on  the  right,  was  painted  a  small  circle  in  black,  represent- 
ing both  the  full  moon  and  the  sun,  while  in  a  correspondingly  opposite 
position,  on  the  left  side  of  the  skull  was  painted  in  red  a  crescent, 
representing  the  first  quarter  of  the  moon,  and  also  known  as  the 
"bowl." 

Sage  then  took  the  Wheel  and  held  it,  while  Watanah,  extending 
his  hands  in  the  direction  of  the  skull  four  times,  picked  it  up  and 
placed  it  in  its  proper  position.  Then,  with  four  similar  motions  with 
his  hands,  th^  head  of  the  robe  was  placed  over  the  skull,  while  the 
Wheel  was  again  replaced  in  position,  just  north  of  the  center  of 
the  skull. 

Further  preparation  of  the  skull  was  deferred  until  after  the  dig- 
ging-stick and  the  double-edged  knife  had  been  ceremoniously  deco- 
rated, when  work  on  the  skull  was  resumed. 

From  a  large  bunch  of  "grass"  which  had  already  been  drawn 
upon  to  furnish  material  for  the  scalp  for  the  digging-stick,  Hdwkan 
took  three  bunches,  one  of  which  he  gave  to  Watdngaa,  another  to 
Watanah,  retaining  one  himself.  The  bunches  were  about  similar  in 
size,  and  the  method  employed  in  their  preparation  by  the  three  men 
was  the  same, "  Watdngaa  and  Watdnah  imitating  the  movements  of 
Hdwkan.  Grasping  in  his  right  hand  the  bundle,  which  was  three 
inches  in  diameter,  at  a  point  about  six  inches  from  the  base  of  the 
stems,  he  divided  the  free  ends  of  the  bundle,  turning  or  doubling 
them  back  from  the  center,  over  that  portion  of  the  grass  which  he 
held  in  his  hand.  He  then  took  a  small  bundle  of  stems,  which  he 
wrapped  around  the  bundle  at  this  point.  Next,  the  bundle  was 
thoroughly  tied  with  sinew  at  a  point  about  four  inches  from  the  place 
where  the  stems  were  doubled,  the  free  ends  then  being  trimmed  off 
squarely  and  evenly  with  a  knife,  just  beyond  the  point  where  the 
stems  were  tied. 

Two  of  the  bundles  were  now  inserted  in  the  orbits  of  the  skull 
without  ceremony.  It  should  be  noted  that  owing  to  the  remarkable 
state  of  preservation  of  the  buffalo  skull  (which  had  been  brought  from 
Wyoming  by  the  Lodge-Maker)  there  still  remained  over  the  right 
eye-socket  a  piece  of  skin,  which  was  removed  with  difficulty.  Before 
attempting  to  remove  it,  however,  Hdcheni  went  through  the  usual 


6a         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

performance  of  touching  his  finger  to  the  ground,  to  his  mouth,  and 
taking  a  bite  of  root  and  making  the  four  customary  passes  with  the 
pipe-stem,  ejecting  spittle  at  the  same  time,  upon  the  piece  of  skin 
about  to  be  removed. 

Watdnah  now  painted  the  grass  bundle  in  the  south  eye-socket 
black,  while  Watanah  painted  the  one  in  the  north  eye-socket  red. 
The  nose  piece  was  now  inserted.  First,  however,  Hocheni  pointed 
with  the  pipe-stem  and  ejected  spittle  four  times,  while  Nishnat^yana 
motioned  with  the  grass  object  four  times,  before  inserting  it  in  place. 
It  was  then  painted  by  those  two  men,  Watangaa  painting  the  half  on 
the  south  side  black,  while  Watdnah  painted  the  half  on  the  north  side 
red.  This  painting  was  done  without  accompanying  rites.  The 
buffalo  robe,  which  had  been  lying  back  of  the  skull  during  this  time, 
was  now  replaced. 

THE  LODGE-MAKER'S  ROBE. 

It  has  been  stated  above  that  the  Lodge-Maker,  on  the  preceding 
night,  when  he  entered  the  Rabbit-tipi,  wore  a  buffalo  robe.  This 
was  now  spread  out  on  the  floor  of  the  lodge,  the  hair  side  upwards, 
and  with  the  head  toward  the  east.  Hdwkan  now  daubed  the  upper 
surface  with  moist  white  clay,  painting  first  one  half  and  then  the 
other.  On  the  neck  and  between  the  hind  legs,  he  made  a  crescent- 
shaped  device  with  thick  white  earth.  These  designs  represented 
respectively  the  sun  and  moon.  He  now  drew  a  white  line  extending 
outward  on  each  side  from  both  the  sun  and  moon  symbols.  These 
lines  were  symbolic  of  the  Four-Old-Men,  who  play  such  an  important 
part  in  Arapaho  mythology.  The  white  paint  itself,  with  which  the 
robe  had  been  treated,  in  former  time  was  made  of  the  ashes  of  a 
buffalo,  and  is  supposed  to  represent  the  color  of  the  sun.  The  robe 
as  now  painted  is  hereafter  to  be  worn  throughout  the  ceremony  by  the 
Lodge-Maker. 

In  the  mean  time,  according  to  instructions,  some  boys  had 
secured  a  rabbit,  which  they  had  hunted  down  and  captured  alive,  for 
it  must  not  be  struck  with  a  stone  or  shot.  After  the  rabbit  is  taken 
alive,  its  breath  is  pressed  from  its  body,  thereby  transferring  the  life- 
element  of  the  rabbit  to  its  hide.  It  had  been  skinned,  and  the  hide 
was  now  brought  into  the  lodge.  It  was  cut  up  into  small  pieces 
about  two  inches  square.  Hdwkan,  Debithe,  Chanitoe,  Watdnah,  and 
others  tied  the  bits  here  and  there  over  the  robe,  with  pieces  of  sinew. 
The  robe  bears  ceremonial  resemblance  to  the  Rabbit-tipi  itself. 

The  above  account  was  gathered  from  Hdwkan,  for  the  decoration 
of  the  Lodge-Maker's  robe  was  not  observed  in    1901.     The  entire 


May,  T903.         The  Arapaho  Sun  Dance — Dorsey.  63 

performance  was  witnessed,  however,  during  the  ceremony  of  1902, 
and  is  here  given.  It  is  evident  from  what  follows,  that  the  bunches 
of  rabbit  fur  were  preserved  from  the  1901  celebration. 

An  old  buffalo  robe,  devoid  of  ornamentation  or  decoration,  was 
brought  into  the  Rabbit-tipi  by  Nishnat^yana,  grandfather  of  the 
Lodge-Maker,  oh  the  morning  of  the  second  day,  immediately  after 
the  cleansing  of  a  certain  individual  by  the  Wheel,  as  has  already  been 
described  in  connection  with  the  account  of  the  Wheel.  The  robe  was 
passed  back  to  the  Lodge-Maker,  who  used  it  for  a  pillow,  while  the 
concluding  ceremonies  of  the  Wheel  were  being  performed. 

After  the  Wheel  had  been  restored  to  its  usual  place,  Nishnat^yana 
knelt  in  front  of  Hawkan,  and  placing  both  hands  upon  his  head,  he 
uttered  a  prayer.  At  the  same  time,  the  wife  of  Nishnat^yana  knelt 
in  front  of  Debithe  and  touched  the  ground  with  the  tips  of  the  fingers 
of  the  two  hands,  which  she  then  placed  on  Debithe's  head.  The 
latter  then  placed  the  tips  of  the  fingers  of  the  right  hand  on  the 
ground  and  uttered  a  prayer,  touched  the  tips  of  the  fingers  of  his  two 
hands  to  the  ground,  then  bit  off  a  small  piece  of  root,  spat  in  her 
hands,  which  she  then  rubbed  over  her  body.  Thiyeh  then  held  out 
the  extended  palms  of  her  two  hands  close  together,  while  Debithe 
touched  them  in  the  usual  ceremonial  fashion  five  times,  the  last  time 
being  in  the  center  of  the  two  hands,  spitting  into  her  hands  each 
time,  as  he  touched  it.  She  then  sat  down  just  back  of  the  Wheel. 
Hdwkan  now  went  out  and  returned  with  a  bunch  of  fresh  wild  sage 
and  sat  down  to  the  south  of  Thiyeh,  while  Nishnat^yana  sat  down  to 
the  south  of  Hdwkan.  The  remaining  personages  on  this,  the  south 
side,  of  the  lodge,  were  in  order,  Nishchdnakati,  Chanitoe,  Hocheni, 
and  Debithe.  Hdwkan  now  divided  the  sage  into  five  bundles,  which 
he  placed  in  front  of  himself.  On  this  bed  of  sage  he  placed  a  leathern 
sack  and  some  object  wrapped  in  an  old  piece  of  calico,  both  of  which 
he  took  from  their  position  just  south  of  the  skull.  Hdwkan  now 
prayed. 

At  the  conclusion  of  the  prayer,  Nishchdnakati  took  a  bite  of  root 
in  his  mouth  and  pointed  toward  the  leathern  bundle  with  the  pipe- 
stem,  beginning  with  the  southeast  corner,  then  at  the  southwest, 
northwest,  northeast,  and  center,  spitting  toward  the  bundle  each 
time  as  he  pointed.  Thiyeh  then  opened  the  leathern  bag,  which  was 
found  to  contain  the  belt,  already  mentioned  in  connection  with  the 
Wheel,  and  a  small  bundle  containing  pieces  of  rabbit  skin.  The  belt 
was  replaced  in  the  leathern  sack.  • 

Of  the  pieces  of  rabbit  skin  there  were  many  in  number,  from 
which   Hdwkan   proceeded   to   select   seven,   which  were   of    especial 


64         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

importance,  and  which  he  arranged  in  front  of  him.  The  first  piece 
deposited  was  the  tail  of  the  rabbit,  and  had  attached  to  it  a  small 
bunch  of  red  horsehair,  and  a  root  known  as  the  "crazy  root." 

The  first  piece  was  to  form  the  center  or  heart  of  the  animal,  the 
tail  itself  being  black,  and  the  red  horsehair  representing  the  "fire," 
as  it  is  called,  or  the  life  or  blood.  The  second  piece  was  deposited 
about  three  inches  in  front  of  this,  and  represented  the  nose  of  the 
rabbit.  Attached  to  this  piece  of  rabbit  skin  was  a  root  known  as  the 
"comb-weed."  The  third  piece  was  placed  in  line  with  these  two, 
but  to  the  west  of  number  one,  and  represented  the  tail  of  the  rabbit. 
Attached  to  it  was  a  root  known  as  the  "burning  root."  On  each  side 
of  this  line  of  the  three  pieces  of  rabbit  skin  were  then  placed  two 
additional  pieces  of  rabbit  skin,  forming  respectively  the  fore  and  hind 
legs  of  the  rabbit.  Attached  to  the  piece  representing  the  right  or 
south  fore  leg  was  a  bit  of  root  known  as  "dog  root."  The  root 
attached  to  the  right  or  south  hind  leg  was  of  the  plant  known  as  the 
"old-woman's-travois. "  The  root  attached  to  the  piece  representing 
the  fore  leg  on  the  left  or  north  side,  was  of  the  cockle-burr,  while 
attached  to  the  piece  of  rabbit  skin  representing  the  hind  leg  was  a 
piece  of  sage. 

The  buffalo  robe  was  now  removed  from  behind  the  Lodge-Maker 
and  spread  out  with  the  fur  side  up,  in  front  of  the  priests  sitting  on 
the  south  side.  Nishchanakati  now  took  a  bite  of  root  and  spat  in  his 
hands  five  times;  then  taking  the  pipe-stem,  he  pointed  with  it  to  the 
center  of  the  robe,  spitting  at  the  same  time,  then  at  the  southeast 
corner,  southwest,  northwest,  and  northeast  corners  of  the  robe.  He 
then  pointed  the  end  of  the  pipe-stem  promiscuously  over  the  robe. 

Hdwkan  and  Chanitoe  took  a  bite  of  root,  and  each  spat  in  the 
palms  of  his  hands  five  times,  according  to  the  usual  ceremonial 
circuit;  then  they  rubbed  their  hands  up  and  down  their  bodies  and 
arms  and  on  their  heads.  Chanitoe  then  took  a  bowl  containing  the 
so-called  "lime-paint"  or  white  clay,  and  began  painting  the  robe  at 
the  southeast  corner.  Assisted  by  Hdwkan,  he  painted  a  narrow  strip, 
about  three  inches  in  width,  entirely  around  the  outer  edge  of  the 
robe.  Then  they  smeared  paint  over  a  considerable  extent  of  the 
center. 

It  is  the  intention  to  decorate  the  robe  with  the  lime-paint  accord- 
ing to  the  decoration  of  the  old  Arapaho  ceremonial  robe,  but  of  course 
the  decoration  bears  only  a  general  resemblance  to  the  symbolism 
formerly  employed.  Then  the  two  priests  attached  the  seven  bunches 
of  rabbit  fur  to  the  robe,  in  the  proper  position,  placing  first  the  heart 
piece  in  the  center  of  the  robe,  the  nose  piece  at  the  front  end  of  the 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  65 

robe,  and  the  other  pieces  in  their  correspondingly  proper  positions. 
Other  pieces  of  rabbit  fur  were  now  attached  to  the  robe  here  and 
there  promiscuously.  The  limbs  of  the  buffalo  are  now  wrapped,  the 
pieces  of  fur  being  likened  to  the  buffalo  chips  which  are  used  to  wrap 
a  baby. 

Debithe  now  brought  into  the  lodge  live  coals,  one  of  which  was 
placed  just  in  front  of  the  forward  end  of  the  robe,  upon  which  he 
deposited  a  pinch  of  spruce  leaves.  After  the  robe  had  thus  been 
incensed,  it  was  returned  to  the  Lodge-Maker,  who  placed  it  behind 
him. 

SYMBOLISM  OF  THE  LODGE-MAKER'S  ROBE. 

Inquiry,  after  the  conclusion  of  the  Sun  Dance,  brought  to  light 
certain  interesting  information  at  variance  in  one  or  two  details  from 
that  obtained  in  the  Rabbit-tipi;  according  to  this  information  the  fur 
of  the  rabbit  is  used  for  the  reason  that  the  animals  are  harmless  and 
clean.  The  rabbit  fur,  comprising  seven  pieces  in  all,  is  arranged  to 
represent  the  picture  or  symbol  of  a  buffalo  bull.  In  the  center  of  the 
robe  is  drawn  in  white  clay,  a  streak  representing  a  road  or  path ;  a 
white  circular  spot  in  the  center  of  the  path  represents  the  sun,  the 
idea  being  thus  expressed  that  the  Offerings-lodge  is  in  progress. 

Attached  to  the  seven  pieces  of  fur  were  the  seven  roots  of  certain 
plants,  each  root  being  considered  the  foundation  of  a  certain  special 
lodge,  although  in  each  lodge  there  are  generally  two  or  more  roots 
used,  one  for  spittle,  to  be  used  upon  persons,  the  other  to  be  used 
upon  objects.  In  each  lodge  there  is  also  used  the  leaves  of  one  or 
more  plants  or  trees  for  incense. 

The  arrangement  of  the  roots  upon  the  robe  should  be,  according 
to  my  second  informant,  as  in  the  diagram  here  given. 

o 

^— ^       Dog  root        ^—^ 
Cockle  bom     ^—^       Main  root 
^-^       Craiyroot        y^^ 
Strong  root       y' — \    Lump-bick  Too*, 
Sage 


66         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

The  following  is  the  symbolic  significance  of  each  root:  the  .dog 
root,  called  also  Bear's  medicine,  at  the  anterior  end  of  the  robe, 
represents  purity,  protection,  and  expectation;  the  crazy  root  is 
characterized  as  a  mixture,  it  takes  precedence  over  all  law  and 
order,  everything  is  reversed;  sage  represents  the  food  of  the  rabbit, 
and  consequently  the  fur  of  the  rabbit;  main  root,  when  well  cooked, 
induces  peace,  comfort,  quietude;  cockle-burr  represents  the  desire  to 
marry,  the  quest  of  a  wife  or  of  a  husband;  lump-back  root  signifies 
old  age;  strong  root  is  holy,  sacred,  good  medicine. 

To  illustrate  the  significance  of  the  symbolism  of  the  cockle-burr, 
reference  was  had  to  a  well-known  Arapaho  myth,  to  be  cited  later  on 
in  a  different  connection,  of  which  the  following  abstract  was  given: 

After  Nih'a"9a"  had  been  taken  out  of  the  river  by  the  women, 
when  he  was  floating  down  with  the  current  with  an  elk  skull  on  his 
head,  and  after  the  skull  had  been  broken  in  pieces  by  the  women, 
Nih*a°9a°  told  the  sisters,  as  he  called  them,  to  louse  him;  so  they 
did.  It  was  a  sultry  day.  Nih'a^^a"  laid  his  head  on  the  women's 
laps  and  went  to  sleep.  Seeing  that  he  was  fast  asleep,  the  women 
got  up,  went  away  from  him,  and  gathered  many  cockle-burrs,  which 
they  placed  in  his  hair,  and  left  him.  As  he  rolled  about,  the  cockle- 
burrs  adhered  tightly,  drawing  his  face  out  of  shape.  He  soon  woke 
up.  His  head  and  face  paining  him,  he  placed  his  hand  on  his  head 
and  found  that  the  cockle-burrs  had  collected  so  thickly  and  were 
imbedded  so  tightly  in  his  hair,  that  he  set  to  work  and  cut  his  hair 
off  very  close.  • 

Those  cockle-burrs  were  the  women  swimming  in  the  river;  some 
were  swimming  when  he  was  at  some  distance  from  them;  but  they 
were  really  cockle-burrs.      In  this  sense  they  wanted  him  for  a  husband. 

Fragmentary  information  was  also  obtained  as  to  the  special  use 
of  certain  of  the  above-mentioned  roots  in  some  of  the  warrior  soci- 
eties, and  as  the  robe,  in  its  widest  significance,  embraces  the  lodges 
of  these  societies,  this  information  is  here  given: 

Offerings-lodge — Spruce  and  cedar  only  are  used  for  incense. 
Strong  root  and  lump-back  root  are  used  for  spittle.  Dog  root,  main 
root,  sage,  cockle-burrs,  and  crazy  root  are  used  on  the  robe. 

Water-Pouring  or  Old-Men's  Lodge — The  use  of  the  strong  root 
is  confined  to  this  and  the  Offerings-lodge,  but  the  informant  had  no 
knowledge  of  the  manner  of  its  use. 

Sweat-lodge — The  dog  root  is  used  for  ejecting  spittle  both  upon 
persons  and  upon  objects.  Main  root  only  is  used  for  the  incense  in 
the  "navel."  Red  and  black  paints  are  used  for  the  body;  the  men 
carrv  rattles  and  buffalo  tails. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  67 

•  Dog-soldiers'-Lodge — The  following  brief  outline  of  a  myth  was 
given  for  the  origin  of  the  dog  root: 

"The  camp-circle  moved  to  another  place.  A  man  who  happened 
to  be  out  for  game,  came  to  the  old  camp-ground  and  found  a  little 
dog  that  was  very  poor  in  flesh  and  about  to  die.  Sympathizing  with 
the  poor  dog,  he  led  it  to  the  river,  but  it  was  so  helpless,  on  account 
of  loss  of  strength,  that  he  left  it  and  went  in  search  of  food  for  the 
dog;  but  failing  to  find  food,  he  brought  over  a  good-tasting  root  and 
gave  it  to  the  poor  dog.  The  dog  relished  the  root,  and  regained  his 
strength. 

"The  dog  appreciated  the  good  will  of  the  man,  and  in  return  had 
compassion  on  him,  and  sat  down  and  painted  the  Dog-soldiers'  lodge. 
The  dog  also  gave  him  directions  for  erecting  the  lodge,  and  the 
routine  of  the  ceremony;  and  thus  the  lodge  came  into  existence." 

In  this  lodge  the  dog  root  is  used  for  spittle  on  both  persons  and 
objects.  Main  root,  tied  to  the  lariat,  is  used  for  incense.  Black 
and  red  paint  are  used  because  the  Offerings-lodge  contains  these 
colors,  and  the  Dog-soldiers  lift  the  center-pole — carry  the  burden  of 
the  tribe. 

Club-Board  Lodge — Dog  root  is  used  for  spittle  upon  persons 
before  they  are  painted  and  also  upon  objects  before  they  are  altered. 
Sage  and  sweet-grass  are  used  for  incense  during  the  painting  of  the 
lodge,  various  colors  being  used;  cockle-burrs  are  represented  at 
different  portions  of  the  body.  The  buffalo  wallow  painted  like  the 
tallow,  already  described,  half  black,  half  red,  made  in  the  center 
of  the  lodge,  is  the  emblem  of  this  society. 

Thunderbird  Lodge — Same  as  the  Club-Board;  the  painting  of 
the  body,  however,  is  different. 

Lime-Crazy  Lodge — Dog  root  is  used  for  spittle  before  painting 
and  before  making  weapons.  Sage  and  sweet-grass  are  used  for 
incense.  Crazy  root  is  used  to  punish  misdemeanors,  to  preserve 
order,  and  to  heal  in  certain  ways.  The  root  is  also  tied  to  Lime- 
Crazy's  robe,  to  his  private  robe,  to  his  cap,  and  bow  and  arrows. 
Sweet-grass  is  used  for  incense. 

When  the  bodies  are  painted  in  colors,  the  image  of  an  owl  is 
made  on  the  front  of  the  body,  beginning  at  the  forehead  and  extend- 
ing to  the  lower  extremities.  The  owl  is  imitated  by  the  men  of  this 
society.  Since  the  owl  is  troublesome  to  the  people,  the  men  behave 
the  same  way;  but  in  the  color  symbolism  of  the  lodge,  red  is  used  on 
the  west  side,  black  on  the  east. 

Buffalo-Women's  Lodge — Dog  root  is  used  for  spittle,  both  for 
bodies  and  for  objects.      Sweet-grass  is  used  for  incense.     Cockle-burrs 


68         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

.  are  represented  on  the  bodies  and  limbs,  for  the  reason  that  buffalo 
bear  them  on  their  bodies.  Red  and  black  paints  are  used.  In  paint- 
ing the  faces  of  the  women,  a  heart  is  represented  on  the  forehead, 
while  at  the  corners  of  the  mouth,  horns  are  represented.  A  dark  line 
is  drawn  across  the  chin,  and  a  dot  upon  the  nose,  representing  the 
buffalo  calf. 

Old-Women's  Lodge — Dog  root  is  used  as  in  the  Buffalo-Women's 
Lodge.      Main  root  is  used  for  incense. 

THE  SACRED  WHEEL  PLACED  ON  ITS  SUPPORT. 

A  small  willow  stick,  about  three  feet  in  length,  was  now  brought 
in  and  handed  to  Hawkan,  who  sharpened  it  at  one  end  and  split  the 
other  end  to  a  short  distance,  forming  a  crotch.  Debithe  now  went 
after  the  owner  of  the  Wheel,  who  upon  entering  unwrapped  the  Wheel 
and  placed  it  in  the  fork  of  the  willow  stick,  which  was  now  thrust  in 
the  ground  in  an  upright  position  just  behind  the  buffalo  skull.  In 
1902  the  Wheel  was  brought  into  the  Rabbit-tipi  on  the  first  day  of 
its  erection, 

CAPTURE  OF  A  BUFFALO. 

The  time  had  now  arrived  when  it  was  necessary  to  bring  in  a  buffalo 
hide.  It  has  been  above  stated,  in  the  account  of  the  preceding  day, 
that  a  buffalo  robe  had  been  staked  out  on  a  hill  behind  the  camp. 
This  had  been  done  by  Naaseh  (Little-Chief)  and  Hebethengn  (Big- 
Nose).  It  should  have  fallen  to  the  lot  of  old  Chief  Ndwaht  (Left- 
Hand)  to  have  killed  the  buffalo  and  bring  its  hide  back  to  the  camp; 
but  on  account  of  his  great  age  and  partial  blindness,  Heichdbiwa  was 
selected.  He  started  out,  consequently,  on  horseback,  with  two  men 
of  the  Star  society  to  show  him  the  way.  They  arrived  where  the  skin 
had  been  erected  on  the  previous  night.  Heich^biwa  made  a  speech, 
and  then  shot  at  it.  The  robe  was  passed  to  him  by  the  men  of  the 
Star  society  and  he  returned  to  the  Rabbit-tipi  with  it.  Here  he  was 
received  by  Hdcheni,  who  took  the  bridle  reins  from  his  hands  and 
offered  a  prayer.  Ndwaht  also  offered  a  prayer,  told  his  war  story, 
and  received  the  robe  from  Heich^biwa.  With  the  assistance  of  the 
others,  Ndwaht  now  stretched  the  skin  on  the  ground.  Debithe  then 
brought  out  from  the  lodge  a  live  coal  on  the  end  of  a  forked  stick  and 
placed  it  in  front  of  the  robe  and  upon  the  coal  sprinkled  spruce  twigs. 
The  men  then  lifted  the  robe  up,  and  in  unison  swung  it  gently  towards 
the  rising  incense  four  times,  and  then  passed  the  robe  over  the  coal 
until  the  smoke  had  thoroughly  covered  it.  They  now  entered  the 
lodge. 


PL.  XIV.     NiSHNATEYANA    PLACING    BUFFALO    ROBE    UPON    A    SCAFFOLD. 

Second  Day,  1902. 


To  the  right,  and  in  the  background  are  two  of  the  warrior  societies  return- 
ing from  the  timber  with  Offerings-lodge  poles. 


4 


Sh^-^''-^'^ 


Pl.  XV.    The  Capture  of  the  Buffalo.    Second  Day,  1902. 


Heich^biwa,  mounted  upon  a  horse,  offering  prayer  before  the  ceremonial 
capture  of  the  buffalo. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  69 

It  was  now  about  sundown,  and  within  a  short  time  there  were 
gathered  within  the  lodge,  Hdwkan,  Hocheni,  WanakSyl  (Row-of- 
Lodges),  Wdaksenna,  Kanathekahade,  and  many  other  important 
participants  of  the  ceremony,  both  male  and  female.  Fresh  fuel  was 
now  added  to  the  fire  by  some  of  the  older  warriors,  each  in  turn  tell- 
ing his  war  story  before  placing  the  wood  upon  the  fire. 

Wanakayl,  Kanathekahade,  and  Waatannak  now  made  some 
alterations  in  the  buffalo  robe,  making  it  ready  for  use  later  in  the 
ceremony. 

CAPTURE  OF  A  BUFFALO,  1902. 

In  the  performance  of  1902,  the  ceremonial  capture  of  the  buffalo 
took  place  just  before  sundown,  also  on  this  the  evening  of  the  second 
day  of  the  Rabbit-tipi.  On  account  ot  the  scarcity  of  buffalo  robes 
in  the  camp,  and  on  account  of  the  feeling  on  the  part  of  the  priests 
that  there  should  be  no  substitute  for  the  buffalo  robe,  for  reasons 
already  given,  considerable  difficulty  was  experienced  in  securing  a 
robe  which  would  answer  the  purpose.  As  a  matter  of  fact,  the 
priests  were  finally  obliged  to  resort  to  two  halves  of  robes,  which  up 
to  this  time,  had  been  used  as  leanback  coverings.  These  were 
fastened  together  along  the  median  edge  by  means  of  buckskin  thongs. 

As  the  time  approached  for  the  capture,  Nishnat^yana  took  the 
robe,  together  with  two  forked  poles  about  six  feet  in  height,  and  a 
straight  pole  about  eight  feet  in  length,  and  proceeded  to  a  spot  about 
half-way  between  the  eastern  opening  of  the  camp-circle  and  the 
Rabbit-tipi.  There  he  placed  the  uprights  in  position  and  in  their 
forks  the  cross-bar,  over  which  he  threw  the  robe,  the  head  facing  the 
south.     (See  Plate  XIV.) 

The  aged  warrior,  Heich^biwa,  was  then  placed  upon  a  pony,  and 
a  gun  was  given  him.  He  started  in  the  direction  of  the  buffalo, 
imitating  the  movements  of  spying  out  an  enemy.  Having  approached 
it,  he  charged  upon  it,  then  stopped  (see  Plate  XV.),  shot  it,  and  went 
through  the  movement  of  scalping  it.  Nishnat^yana  then  rode  back 
to  the  Rabbit-tipi,  where  he  was  met  by  Chief  Ndwaht.  Taking  the 
pony  by  the  bridle,  Chief  Ndwaht  related  a  war  story,  lifted  the  robe 
from  the  horse,  and  put  it  upon  the  ground,  the  head  facing  west. 

A  live  coal  was  brought  in  from  the  lodge  by  Nishnateyana, 
together  with  a  bag  of  spruce  leaves.  The  coal  was  placed  in  front 
of  the  robe,  and  upon  it  a  pinch  of  leaves.  Watangaa  and  Nishnate- 
yana, with  both  hands,  picked  up  the  robe  by  the  middle  of  the  back 
and  carried  it  in  a  sinuous  motion  over  the  rising  incense.  The  head 
of  the  robe  was  allowed  to  rest  for  a  moment  upon  the  pile  of  earth 


7©         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

lying  just  to  the  east  of  the  Rabbit-tipi,  made  after  the  preparation  of 
the  fireplace  on  the  previous  day.  Hdwkan  now  came  outside  with  a 
rattle  and  began  singing  a  song,  accompanied  by  Chanitoe  and 
Debithe.  The  robe  was  then  carried  on  inside  the  lodge  by  Watdngaa 
and  Nishnat^yana.  Inside  the  lodge  it  was  also  passed  over  incense 
and  was  deposited  on  the  ground  south  of  the  fireplace.  Chanitoe  then 
lifted  the  Wheel  from  its  position  and  Watdngaa  and  Nishnat^yana 
again  picked  up  the  robe  as  before  and  carried  it  on,  back  of  the  skull, 
where  it  was  deposited  with  the  head  of  the  robe  covering  the  skull. 
The  Wheel  was  then  replaced  upon  its  support,  which  was  thrust  into 
the  ground  just  to  the  north  of  the  skull.  The  newer  calico  wrappings 
were  thrown  over  the  Wheel  and  all  inside  the  Rabbit-tipi  now  left  and 
gathered  just  outside,  where  Chief  Nawaht  told  a  number  of  war  stories. 
Later  in  the  evening,  when  the  priests  had  returned  within  the 
Rabbit-tipi,  Nishchanakati  removed  the  robe  from  the  position  which 
it  had  occupied  over  and  back  of  the  skull,  and  spread  it  out  in  the 
space  to  the  south  of  the  fireplace.  Sitting  down  by  the  side  of  it,  he 
then  related  a  war  story  and  began  trimming  the  edge  of  the  robe, 
saying  as  he  did  so,  that  in  that  fashion  had  he  forced  the  enemy  to 
the  ground  and  taken  his  scalp.  In  accordance  with  custom  there  was 
now  heard,  as  at  many  times  throughout  the  Sun  Dance  and  other 
Indian  ceremonies,  a  number  of  sharp,  piercing  cries,  uttered  by 
Debithe,  and  imitative  of  those  formerly  uttered  by  women  on  the 
return  of  the  victorious  war  party.  After  the  robe  had  been  trimmed 
properly,  it  was  put  back  in  its  former  position,  to  the  west  and  over 
the  skull,  the  tail  of  the  robe  reaching  the  western  wall  of  the  tipi. 
Nishchanakati,  in  accordance  with  his  privilege,  retained  those  portions 
of  the  buffalo  hide  which  had  been  cut  away.  These  he  placed  behind 
him  as  he  took  his  accustomed  seat  in  the  circle.  Food  was  then 
brought  in,  the  sacrifice  made,  and  the  usual  feast  followed. 

PAINTING  THE  BUFFALO  HIDE. 

The  decoration  of  the  hide,  during  the  1902  performance,  was 
deferred  until  early  in  the  forenoon  of  the  following  or  third  morning, 
and  was  done  while  the  Lodge-Maker  with  his  substitute  were  making 
the  round  of  the  camp-circle  collecting  presents.  Inasmuch,  however, 
as  under  ordinary  circumstances,  the  decoration  of  the  robe  would, 
presumably,  have  followed  its  being  trimmed  and  fashioned  in  proper 
shape  by  one  of  the  priests,  the  account  is  given  at  this  place: 

Wdtanah,  who  as  it  will  be  remembered,  was  present  as  a  pupil  of 
Hdwkan,  and  next  to  him  in  knowledge  of  the  ceremony,  now  sat 
down  to  the  south  of  the  skull,  with  Hocheni  at  his  right.      Holding 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  71 

the  palms  of  his  two  hands  in  front  of  H6cheni,  the  latter  touched  the 
tips  of  the  fingers  of  his  right  hand  to  the  ground,  then  to  his  mouth, 
bit  off  a  small  portion  of  the  root,  and  spat  five  times  in  the  hands  of 
Watanah,  the  ceremonial  circuit  being  followed.  Watdngaa  then  knelt 
in  front  of  Hoclieni,  who  went  through  the  same  performance  with 
his  hands. 

Watdngaa  and  Wdtanah  then  took  the  hide  from  behind  and  over 
the  buffalo  skull,  where  it  had  been  lying  during  t"he  night  and  placed 
it  in  the  open  space  south  of  the  fireplace,  the  forward  end  of  the  hide 
being  directed  toward  the  east.  The  bags  of  red  paint  were  next 
placed  in  front  of  Hocheni  by  Wdtanah,  who  went  through  the  usual 
motions,  and  who  touched  them  and  spat  upon  them  and  touched  them 
with  the  pipe-stem  five  times.  Then  he  rubbed  the  end  of  the  pipe- 
stem  here  and  there,  at  random,  over  the  hide.  Debithe,  who  had  also 
been  sitting  on  the  south  side,  now  took  up  the  bag  of  red  paint  and 
untied  it,  while  Chanitoe  untied  the  bag  of  black  paint.  Witanah 
gave  to  each  a  piece  of  tallow,  which  they  thoroughly  mixed  with  the 
paint.  Hawkan  then  put  a  live  coal  in  front  of  the  head  of  the  hide 
and  placed  upon  it  spruce  leaves.  Moving  up  by  the  side  of  the 
rising  incense,  Watdngaa  now  took  the  black  paint  and  smeared  it 
between  the  palms  of  his  hands,  while  Wdtanah  did  the  same  with  the 
red  paint.  With  the  palms  of  their  hands  together,  they  then  held 
them  over  the  rising  incense  four  times,  the  left  hand  being  upward 
first,  then  the  right,  then  the  left,  then  the  right,  the  hands  being  held 
each  time  in  a  horizontal  position.  Then  the  hands  were  turned  in  a 
perpendicular  position,  with  the  thumbs  up,  and  were  held  over  the 
incense.  Watdngaa  then  painted  the  anterior  half  of  the  robe  black, 
while  Wdtanah  painted  the  remainder  red.  Wdtanah  next  doubled  the 
robe  in  two  along  the  median  line,  folded  it,  and  placed  it  upon  the 
buffalo  skull,  the  front  end  of  the  robe  touching  the  base  of  the  skull. 

The  buffalo  skull  and  robe  now  constituted  a  living  animal — 
Young-Bull.  With  the  ceremonial  killing  of  the  buffalo,  the  life-ele- 
ment is  transferred  to  the  hide;  this  life-element  is  renewed  or  revivi- 
fied as  the  hide  is  passed  over  the  incense.  With  the  placing  of  the  robe 
over  the  skull,  beneath  the  sage  bed  of  which  should  be  seven  buffalo 
chips,  the  process  of  forming  an  animate  being  is  regarded  as  complete. 

The  placing  of  the  buffalo  chips  was  omitted  in  1902  for  the  reason 
that  they  could  not  be  secured.  Occasionally  five  are  used  instead  of 
seven.  The  chips  are  symbolic  of  food  and  are  spokenof  as  the  gift 
of  the  buffalo  to  the  Arapaho.  At  the  end  of  the  ceremony  they  are 
supposed  to  be  transferred  by  the  "grandfather"  to  the  Lodge-Maker, 
i.  e.,  from  an  elder  to  a  younger  generation. 


72         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

EAGLE  FEATHERS  GIVEN  TO  YOUNG-BULL. 

Debbithathat  (Cut-Finger)  was  now  heard  outside  praying  to  the 
Four-Old-Men.  At  the  conclusion  of  the  prayer  he  entered,  bringing 
with  him  four  eagle  feathers  in  his  right  hand  and  a  filled  pipe  in  his 
left.  On  entering  the  lodge,  he  gave  the  pipe  to  Nishnateyana,  who 
placed  it  in  front  of  the  skull,  the  bowl  being  up  and  toward  the  north, 
as  usual.  The  feathers  he  also  gave  to  Nishnateyana,  who  put  them 
down,  without  ceremony,  on  the  head  of  the  robe.  Nishnateyana 
now  sat  down  to  the  southeast  of  the  skull,  while  next  to  him,  toward 
the  door,  on  the  south,  were  Watanah,  Debithe,  Watdngaa,  Chanitoe, 
Nishchdnakati,  and  Hawkan. 

Food  was  then  passed  in  (the  feast  having  been  provided  by  the 
wife  of  Debbithathat)  to  Thiyeh,  who  placed  it  in  the  usual  ceremonial 
position  about  the  fireplace,  the  first  vessel  being  placed  southeast, 
the  second  southwest,  the  third  northwest,  the  fourth  northeast,  and 
the  fifth  on  the  east.  Watdngaa  then  turned  toward  the  direction 
of  the  buffalo  skull  and  robe  and  spoke  as  follows: 

watAngaa's  prayer  to  young-bull. 

"Now,  Young-Bull,  please  listen  to  me.  This  day,  friend 
(Debbithathat)  comes  to  you  with  his  family  and  brings  to  you  a 
bundle  of  eagle  feathers  for  your  headdress;  he  has  furnished  the  very 
best,  to  show  his  respect  and  reverence  to  you.  His  recent  days  have 
been,  to  a  certain  extent,  in  misery  and  sorrow,  and  his  relatives  have 
had  some  contentions  and  troubles.  Therefore,  I  pray  you  with  an 
earnest  heart,  that  through  his  gift  of  feathers  you  will  extend  to  him 
and  his  family'your  sympathy.  This  kind  of  a  gift  youconsider  as 
the  best;  so  look  up,  listen,  and  answer  his  prayer!  I  further  pray 
you  that  by  his  earnest  gift  the  whole  tribe  may  multiply,  that  peace 
and  prosperity  may  exist  in  the  tribe  and  among  the  surrounding 
Indians,  that  this  day  you  may  be  in  accordance  with  our  Man-Above, 
to  give  us  food,  water,  and  particularly  to  give  life  for  our  children, 
and  may  you  also  give  us  cattle.  I  ask  you  that  in  our  every-day  walk 
we  may  be  firm  and  live  with  good  will  toward  our  white  brothers. 
So  now  please  accept  this  gift,  with  the  hope  that  he  will  be  pleased, 
and  that  you  will  tell  our  Father  that  we  have  given  you  the  best. 
.Come,  all  you  Supernatural-Beings!  Look  upon  this  poor  and  humble 
servant;  be  with  him  and  his  family,  that  his  daily  footsteps  may  be 
as  light  as  the  Sun,  our  Grandfather,  that  he  may  be  protected  by 
Old-Woman-Night,  our  Grandmother!" 

Debbithathat  now  left  the  lodge  and   returned  at  once  with   his 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  73 

wife  and  child,  and.  sat  down  near  the  door  on  the  north  side  of  the 
lodge.  Nishnateyana  now  placed  a  vessel  of  food  in  front  of  Hocheni, 
who  after  the  usual  ceremonial  motions,  prepared  five  pieces,  which 
Debbithathat  received  from  him,  drawing  his  right  hand  from 
Hocheni's  right  shoulder  to  his  head,  and  made  the  usual  offerings  to 
the  four  directions,  placing  the  last  piece  in  front  of  the  skull.  The 
vessels  of  food  were  now  passed  by  the  wife  of  Debbithathat  to  the 
wife  of  Nishnatdyana,  who  distributed  them. 

At  the  conclusion  of  the  feast  the  food  vessels,  together  with  the 
remainder  of  the  food,  were  removed  from  the  lodge.  Then  Debbitha- 
that and  his  wife  and  child  were  cleansed  by  the  Wheel,  according  to 
the  manner  already  described  at  length,  the  Wheel  during  the  cere- 
mony being  held  by  Nishnateyana. 

At  the  conclusion  of  this  ceremony,  and  after  the  Wheel  had  been 
"wrapped"  and  Debbithathat  had  made  a  prayer  for  life  and  for  other 
material  benefits,  the  bundle  of  eagle  feathers  was  given  him,  while  he 
still  sat  by  the  side  of  the  skull,  which  he  tied  to  the  forelock  of 
the  robe. 

These  feathers  may  be  regarded  as  a  headdress  for  Young-Bull, 
and  are  a  token  of  respect  and  love — the  giver  of  the  feathers  is 
thereby  cleansed  and  blessed. 

THE  BELT  AND  HEADDRESS  REPAINTED. 

This  rite  took  place,  in  the  performance  of  1902,  during  the  after- 
noon of  the  third  day,  on  the  return  of  the  priests  from  the  location 
of  the  Offerings-lodge.  Seated  on  the  north  side  of  the  tipi,  in  order, 
beginning  at  the  west,  were  Wdtanah,  Hawkan,  Thiyeh,  Chanitoe, 
Nishchdnakati,  and  Debithe.  Watanah  now  entered  with  a  new  piece 
of  calico,  which  was  spread  down  in  front  of  Hawkan  on  top  of  a 
blanket.  Hdwkan  and  Watanah  both  touched  the  forefinger  to  the 
ground,  then  to  the  mouth,  took  a  bite  of  root,  and  spat  five  times  in 
the  usual  ceremonial  circuit  upon  the  calico.  The  leather  case  con- 
taining the  belt  was  then  laid  upon  the  calico. 

The  wife  of  Nishnateyana  then  knelt  in  front  of  Nishchdnakati, 
while  the  latter  prepared  her  hands  by  the  usual  motions  and  ejection 
of  spittle,  that  she  might  remove  the  belt  from  its  case.  Waakdtani, 
who  with  the  others  had  been  sitting  on  the  north  side  of  the  lodge, 
placed  a  coal  in  front  of  Wdtanah,  upon  which  Hawkan  deposited  five 
pinches  of  incense,  beginning  on  the  southeast  and  continuing  in  a  sun- 
wise circuit,  the  fifth  pinch  being  added  from  the  center.  Nishehdna- 
kati  then  made  five  ceremonial  passes  with  the  pipe-stem  over  the 
pack,  ejecting  spittle  at  the  same  time,  after  having  first  touched  his 


74         Field  Columbian  Museum — Anthropology,  Vol.  IV, 

forefinger  to  the  ground,  then  to  his  tongue  and  talcing  a  bite  of  root. 
Hdwkan  passed  the  bag  over  the  rising  incense,  and  gave  it  to  Thiyeh, 
who  opened  it,  disclosing  the  sacred  belt. 

This  was  in  the  form  of  an  apron  of  buckskin,  about  ten  inches  in 
width  and  fourteen  inches  in  length,  fastened  to  a  buckskin  thong  by 
its  upper  and  narrow  edge,  by  being  passed  over  the  thong  once  and 
held  in  position  by  means  of  buckskin  strings.  This  thong  was  really 
the  belt  proper  and  terminated  at  each  end  in  five  strands  or  fringes, 
each  of  which  was  wrapped  with  uncolored  porcupine  quills.  The 
larger  piece  of  buckskin,  or  apron,  also  terminated  at  its  base  with 
many  strands  or  fringes,  perhaps  twenty  in  number,  wrapped  also  with 
porcupine  quills.  At  the  upper  corners  of  the  apron,  on  each  side, 
were  two  small  loops,  about  three-quarters  of  an  inch  in  length;  these, 
also,  wrapped  with  porcupine  quills.  Hdwkan  now  offered  the  follow- 
ing prayer: 

hawkan's  prayer. 

"My  Father,  have  pity  upon  us!  Remember  that  we  are  your 
children  since  the  time  you  created  the  heavens  and  the  earth,  with  a 
man  and  a  woman!  Our  Grandfather,  the  Central-Moving-Body,  who 
gives  light,  watch  us  in  the  painting  of  the  belt  which  our  Father 
directed,  as  it  is  before  us!  Now  speak  to  your  servant  who  is  to  wear 
the  belt!  Look  at  her  with  good  gifts,  and  may  she  do  this  for  the 
benefit  of  the  new  people  (children),  so  that  this  tribe  shall  have 
strength  and  power  in  the  future!  I  am  poor  in  spirit,  and  therefore 
ask  you,  Spiritual-Beings,  to  help  us,  that  this  belt  may  be  clean  and 
be  an  element  of  mercy  for  the  people.  We  cannot  cease  praying  to 
you,  my  Father,  Man-Above,  for  we  desire  to  live  on  this  earth  which 
we  are  now  about  to  paint  on  this  occasion.  We  have  given  this  belt 
to  the  sweet  smoke  for  our  purity  hereafter.  May  our  thoughts  reach 
to  the  sky,  where  there  is  holiness!  Give  us  good  water  and  an  abun- 
bance  of  food." 

Wdtanah  opened  the  bag  of  red  paint,  from  which  Hdwkan  applied 
five  pinches  to  the  apron,  beginning  first  in  the  upper  and  right-hand 
corner,  followed  by  the  lower  right-hand  corner,  then  the  lower  left- 
hand  corner,  then  the  upper  left-hand  corner,  and  then  in  the  center, 
the  apron  being  so  placed  that  the  first  application  of  the  red  paint 
was  in  the  direction  of  the  southeast.  Wdtanah  and  Thiyeh  then 
applied  pinches  of  red  paint  in  exactly  the  same  manner.  Then 
Thiyeh  poured  with  her  thumb  and  forefinger  thin  lines  of  paint  here 
and  there  over  the  apron  and  rubbed  them  in  with  her  hands. 

There  had  also  been  removed  from  the  leathern  case  at  the  time 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  75 

the  belt  was  taken  out  a  small  bundle,  which,  when  unwrapped,  dis- 
closed two  small  bunches  of  eagle  breath-feathers,  each  of  which  were 
wrapped  at  the  quill  end  to  the  extent  of  about  two  inches,  with  beads, 
those  of  one  bunch  being  red,  those  of  the  other  white.  Hdwkan  now 
repainted  the  red  feathers  with  the  red  paint,  while  the  white  feathers 
were  treated  to  a  coat  of  the  white  lime-paint.  After  these  were 
painted,  they  were  returned  to  the  case.  The  belt  was  then  folded  up 
and  replaced,  along  with  the  two  headdresses,  in  the  leathern  sack, 
which  was  placed  south  of  the  skull.  Hiwkan  then  divided  the  gifts 
of  calico  and  goods  between  Wdtanah  and  Watdngaa. 

SYMBOLISM  OF  THE  BELT  AND  HEADDRESS. 

As  the  belt  still  lay  in  its  unfolded  position,  Hdwkan  volunteered 
the  information  that  it  represented  a  woman,  the  strings  of  the  belt 
representing  the  arms,  the  apron  part  the  body,  and  the  two  loops 
being  the  eyes.  He  further  explained  that  it  had  existed  from  the 
beginning,  and  that  it  was  the  foundation  of  the  lodge.  Further 
inquiry  elicited  additional  information  concerning  the  interesting 
objects.  The  five  little  piles  of  paint  first  put  on  the  belt  not  only 
represented  the  Four-Old-Men  or  the  four  elements  of  life  with  the 
"Central-Moving-Body,"  but  they  form  also  a  cross,  symbolic  of  the 
morning  star,  the  Mother,  which  comes  up  in  advance  of  the  sun,  as 
the  wife  of  the  Lodge-Maker  precedes  the  Transferrer  on  their  return 
to  the  Rabbit-tipi,  after  a  rite  described  in  another  place.  The  red 
paint  which  is  smeared  over  the  belt  is  symbolic  at  once  of  the  naked 
form  of  a  woman  and  of  the  red  skin  of  the  whole  race.  While  the 
belt  as  a  whole  is  symbolic  of  a  woman,  it  is  also  typical  of  the  vulva 
and  even  of  a  generalized  concept  of  life-generating  power  of  the  race. 
The  wife  of  the  Lodge-Maker  wears  it  to  conceal  her  "cavity." 

Of  the  two  headdresses,  the  one  with  the  red  bead  wrappings 
represents  a  female  and  is  to  be  worn  by  the  wife  of  the  Lodge-Maker. 
The  red  is  symbolic  of  the  Arapaho  race,  of  purity,  old  age,  and  meek- 
ness, and  more  especially  of  the  earth  with  the  glow  of  sunset.  The 
headdress  with  the  blue  bead  wrappings  represents  a  male  and  is  to  be 
worn  by  the  Lodge-Maker.  The  blue  color  has  reference  to  the 
brightness  of  the  day,  of  vegetation,  a  spotless  path  for  all,  and  espe- 
cially does  it  symbolize  the  sky  or  Above,  as  contrasted  with  the  earth 
symbolism  of  the  other  headdress. 

The  two  headdresses  together  were  also  spoken  of  as  representing 
male  and  female  birds,  also  the  air  and  the  "soft-breath." 


76         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

THE  RAWHIDE  DRUM  AND  NIGHT  REHEARSAL. 

Shortly  after  midnight,  immediately  on  the  return  to  the  Rabbit- 
tipi  of  the  grandfather  and  the  Lodge-Maker's  wife,  after  an  interest- 
ing rite  described  later  on  in  the  pages  of  this  paper,  a  Crier  was  heard 
outside  calling  for  musicians  and  a  drum.  Soon  after,  some  of  the 
Dog-soldiers  and  several  members  of  the  Star  society  arrived,  just 
outside  of  the  lodge,  bringing  with  them  a  large  drum.  Hdwkan  took 
a  live  coal  from  the  fire  with  a  forked  stick,  which  he  placed  in  front 
of  him.  The  Lodge-Maker  arose  from  his  position  and  assumed  a 
squatting  posture  just  behind  the  coal.  The  folded  rawhide  was  then 
passed  by  a  messenger  inside  the  lodge  to  Hawkan,  who  placed  it  by 
the  side  of  the  l^odge-Maker.  Hawkan  then  gave  a  pinch  of  cedar- 
leaves  to  the  Lodge-Maker,  who  held  them  between  his  thumb  and  two 
fingers  of  his  right  hand,  holding  the  leaves  in  front  of  his  face  and 
resting  his  elbow  upon  his  right  knee. 

Hawkan  then  began  singing,  accompanying  the  song  with  the 
rattle,  while  Chanitoe  beat  the  Badger-pack  as  the  movement  of  the 
song  slowly  proceeded,  the  Lodge-Maker  keeping  time,  moving  his 
right  hand  back  and  forth  in  a  position  parallel  to  his  body.  This  was 
continued  through  the  second  song.  At  the  beginning  of  the  third 
song  he  still  kept  his  elbow  upon  his  knee,  but  moved  his  hand  in 
front  of  the  left  side  of  his  body,  where  he  again  kept  time  by  moving 
his  hand  back  and  forth,  out  in  front  of  himself,  to  the  movement  of 
the  song.  In  a  similar  manner  the  fourth  song  was  sung.  At  the 
beginning  of  the  fifth  song,  the  Lodge-Maker  moved  his  hand  so  that 
it  was  held  exactly  in  front  of  his  face,  where  he  again  kept  time  to 
the  song.  At  the  conclusion  of  the  song  he  deposited  the  incense 
upon  the  live  coal.  This  little  episode  formed  one  of  the  most  inter- 
esting and  most  beautiful  of  the  entire  Sun  Dance  ceremony,  and  was 
exceedingly  impressive. 

The  Lodge-Maker  now  took  up  the  rawhide,  motioned  it  toward 
the  incense  four  times,  then  passed  it  slowly  over  the  coal  and  walked 
in  a  sunwise  circuit  in  front  of  those  sitting  on  the  south  side  of  the 
lodge.  He  made  four  movements  with  the  rawhide  toward  the  musi- 
cians, who  had  now  entered  and  taken  up  a  position  just  south  of  the 
door,  when  at  the  fifth,  he  passed  the  rawhide  in  among  them,  where- 
upon they  beat  upon  it.  Other  musicians  now  entered  the  lodge, 
crowding  around  a  large  drum  at  the  southeast  corner.  The  rattle 
was  passed  to  the  leading  Dog-soldier,  and  they  began  beating  upon 
the  large  drum  and  soon  began  singing.  Niwaat,  the  actual  Lodge- 
Maker,  had  in  the  mean  time  put  on  his  buffalo  robe,  with  the  fur  side 


PL.  XVI.    Thunderbird  Society.    Third  Day,  1902, 


The  return  from  the  timber  with  Cottonwood  poles  to  be  used  in  the  Offer- 
ings-lodge. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  77 

out,  and  now  arose  and  stood  behind  the  buffalo  skull,  where  he  blew 
upon  an  eagle-bone  whistle,  to  the  accompaniment  of  the  song. 

After  this  performance  had  continued  ior  some  time,  the  Dog- 
soldier  singers  gave  way  to  the  members  of  other  younger  warrior 
societies,  who  began  an  informal  rehearsal  of  new  and  old  songs,  which 
was  kept  up  during  the  greater  part  of  the  night.  The  Lodge-Maker 
and  substitute  Lodge-Maker  and  wife,  remained,  of  course,  within  the 
Rabbit-tipi  during  the  night,  continuing  their  fast. 

RITES  OUTSIDE   THE  RABBIT-TIPL 
TIMBERS  FOR  THE  LODGE. 

In  addition  to  the  ceremonies  which  took  place  either  in  or  in 
connection  with  the  Rabbit-tipi,  were  several  other  events  of  impor- 
tance on  this  day,  which  must  be  noted.  Several  of  the  younger  mem- 
bers of  the  Star  society  and  Kit-P'ox  society  repaired  early  in  the 
forenoon  to  the  cottonwood  grove  near  the  encampment  and  cut  cer- 
tain of  the  timbers  to  be  used  in  the  erection  of  the  great  Offerings- 
lodge.  Of  these  they  cut  several  forked  sticks  to  be  used  as  uprights, 
a  number  of  poles  to  be  used  as  cross-bars  and  also  a  few  poles  which 
were  to  be  used  as  rafters  of  the  lodge.  In  connection  with  the  cut- 
ting and  bringing  in  of  the  poles  was  a  certain  amount  of  hilarity, 
mingled  with  formal  ceremony. 

This  feature  of  the  ceremony  received  much  greater  attention  in 
the  1902  performance  than  on  the  previous  year.  Apparently,  nothing 
could  have  exceeded  the  spirit  of  happiness  which  prevailed  through- 
out the  camp-circle  on  both  the  second  and  third  days,  as  the  various 
warrior  societies,  dressed  in  their  best,  and  mounted  on  their  painted 
ponies,  and  accompanied  by  their  wives  or  sweethearts,  made  repeated 
trips  to  the  timber,  returning  with  poles  for  the  lodge.  Ordinarily, 
on  entering  the  camp-circle,  they  would  pass  entirely  around  it,  in  a 
sunwise  course,  singing  and  crying  with  joy  at  the  top  of  their  voices. 
When  they  had  gained  the  point  of  the  circle  at  which  they  had 
entered,  they  would  pass  to  the  center  of  the  circle,  where  they  would 
leave  their  pole  and  return  again  to  the  timber.     (See  Plate  XVI.) 

LOCATING  THE  CENTER-POLE. 

A  still  more  important  event  of  this  day  was  the  location  of  a 
suitable  tree  to  be  used  as  the  center-pole  in  the  Offerings-lodge. 
This,  naturally,  is  the  most  important  pole  ot  the  great  lodge, 
and  in  connection  with  its  location  and  transfer  to  the  scene  of  the 
lodge  there  were  several  interesting  rites.     The  duty  of  the  selection 


78         Field  Columbian  Museum — Anthropology,  Vol.  IV, 

of  the  pole  falls  by  custom  not  only  to  the  most  famous  warriors  of  the 
tribe,  but  to  those  few  who  have  served  as  scouts  and  have  been  suc- 
cessful in  raids  against  the  Pawnee.  Four  such  men  are  usually  chosen 
to  locate  the  pole,  but  it  was  found  that  there  was  only  one  Arapaho 
who  filled  the  requirements,  viz.,  Heich^biwa.  Two  Cheyenne,  who 
were  encamped  near  by  and  who  were  known  to  possess  the  requisite 
qualifications,  were  asked  to  assist  Heich^biwa.  One  of  these  was 
Wolf-Face;  the  name  of  the  other  was  not  ascertained.  Horses  were 
furnished  these  three  men,  which  were  painted  by  them  as  their  own 
horses  had  formerly  been  painted  when  about  to  go  on  the  war-path. 
Each  of  the  old  men  was  also  furnished  with  a  lance  and  a  gun.  Thus 
equipped,  they  started  out  toward  the  Cottonwood  grove,  where,  for 
convenience,  certain  members  of  the  Star  society  had  already  selected 
the  most  suitable  tree  for  the  purpose  that  they  could  fitid.  One  of 
these  young  men,  Nadseh,  who  knew  the  location  of  the  pole,  accom- 
panied the  three  old  warriors.  As  they  approached  the  tree  they  pre- 
pared to  charge  upon  it  as  upon  the  enemy,  and  after  certain 
movements,  shot  at  it.  The  members  of  the  Star  society  who  had 
been  dancing  in  front  of  the  Rabbit-tipi  now  knew  that  the  center-pole 
was  located. 

In  the  mean  time,  members  of  the  Star  society  had  set  up  a  tripod 
in  front  of  the  lodge  and  had  covered  it  with  grass.  The  three  old 
warriors  now  returned  to  camp,  but  just  before  entering  the  camping- 
circle,  they  set  up  a  cry  like  that  of  wolves  (Pawnee,  who  are  called 
wolves  or  coyotes),  whereupon  the  members  of  the  Star  society  charged 
upon  them  and  went  through  the  performance  of  counting  coup  and 
taking  scalps.  The  warriors  then  proceeded  to  the  Rabbit-tipi,  where 
they  were  received  by  Hdcheni,  who  received  the  reins  from 
Heich^biwa's  hands  and  offered  a  prayer  for  the  victory.  Heich^biwa 
then  related  his  war  story,  telling  how  in  his  earlier  days  he  had  actu- 
ally successfully  spied  out  the  Pawnee.  Then  the  two  Cheyenne 
followed  with  their  war  stories.  They  now  entered  the  Rabbit-tipi, 
where  they  remained  for  a  short  time;  then  all  dispersed  except  those 
who  had  duties  to  perform  in  the  Rabbit-tipi,  the  head  men  of  the 
different  companies,  as  has  been  related  above,  having  first  asked  the 
members  of  their  societies  to  meet  in  certain  tipis  for  the  purpose  of 
arranging  and  talking  over  plans  for  the  following  day. 

THE  OFFERINGS-LODGE  LOCATED. 

This  ceremony  was  not  witnessed  in  the  1901  performance. 
Immediately  after  the  completion  of  certain  rites  in  the  Rabbit-tipi, 
on    the    third    day    of    the    1902    performance,    Hdwkan,    Watdngaa, 


May,  1903.         The  Arapaho  Sun  Dance — Dorsev.  79 

Debithe,  Wdtanah,  Waakatani,  and  Kinathekahade  left  the  Rabbit-tipi 
and  proceeded  to  a  place  about  one  hundred  feet  east  of  the  Rabbit- 
tipi,  where  the  various  poles  to  form  the  Offerings-lodge,  had  been 
thrown  promiscuously.  From  one  of  the  cottonwood  trees  Hdwkan 
cut  five  small  boughs  about  three  feet  in  length,  sharpening  one  end 
of  each. 

They  all  now  seated  themselves  in  a  semicircle,  facing  the  east. 
Hdwkan  touched  the  forefinger  of  his  right  hand  to  the  ground  and 
then  touched  his  tongue,  took  a  bit  of  sage  into  his  mouth,  spat  into 
his  hands  five  times,  and  prayed : 

hawkan's  prayer. 

"My  Father,  Man- Above,  we  are  sitting  here  on  the  ground  in 
humble  spirit  and  of  poor  heart,  and  ask  your  tender  mercy  upon  us,  one 
and  all.  Through  the  merits  of  your  children  who  taught  us  this  law 
of  the  Sacred-Offerings-lodge  which  we  are  about  to  locate,  may  we 
do  it  in  such  a  manner  as  to  obtain  your  favor  and  increased  good 
spirit,  to  the  end  of  the  lodge!  Give  to  us  all  your  spirit  and  abun- 
dant mercy,  and  let  us  unite  in  one  spirit  toward  you,  who  made  us  and 
ordered  these  things!  My  Grandfather,  the  Light-of-the-Earth,  please 
look  down  this  day  upon  your  poor  and  needy  people,  that  whatsoever 
they  may  do  in  their  behalf  may  be  pleasing  to  you!  Now,  my 
Mother-Earth,  take  pity  on  me,  poor  creature,  and  guide  me  straight! 
Let  me  do  these  things  right,  in  the  way  your  servants  used  to  do!" 

Arising,  he  thrust  one  of  the  five  cottonwood  sticks  into  the 
ground,  which  marked  the  spot  where  later  was  to  be  erected  the 
center-pole  of  the  lodge.  Placing  his  heel  against  this  stick,  he 
walked  with  slow,  lengthened  step  in  the  direction  of  the  sunrise, 
halting  at  the  seventh  step.  This  marked  the  eastern  door,  the 
entrance  to  the  lodge.  He  then  retraced  his  steps  to  the  central  stick, 
and  walked  seven  steps  to  the  west,  which  marked  the  western  upright. 
Then  he  retraced  his  steps  again,  and  proceeded  seven  steps  to  the 
north,  then  seven  steps  to  the  south,  thrusting  at  each  cardinal  point 
one  of  the  cottonwood  sticks.  The  author's  attention  was  then  called 
by  Hdwkan  to  the  fact  that  the  sticks  thus  placed,  formed  a  cross, 
symbol  of  the  morning  star. 

Th,e  priest  then  returned  to  the  Rabbit-tipi,  while  the  Lime-Crazy 
soldiers  and  others  began  digging  the  holes  and  otherwise  preparing 
for  the  great  lodge. 


8o         Field  Columbian  Museum — Anthropology,  Vol.  IV. 


THIRD  DAY,  1901;  FOURTH  DAY,  1902. 

This  day  corresponds  to  the  fourth  day  of  the  1902  performance. 
The  ceremonial  paraphernalia  has  now  all  been  prepared  within  the 
Rabbit-tipi,  the  poles  and  supports  of  the  great  lodge  have  been 
secured,  and  the  center-pole  has  been  located.  There  now  remains  to 
be  described  the  capture  of  the  center-pole,  the  erection  of  the  Offer- 
ings-lodge proper,  and  the  transfer  of  the  sacred  paraphernalia  to  the 
new  lodge  from  the  old,  with  the  final  desertion  of  the  latter. 

THE  CENTER-POLE  CAPTURED. 

While  certain  of  the  priests  were  performing  a  few  minor  rites  in 
the  Rabbit-tipi,  others  started  for  the  cottonwood  grove  to  bring  in  the 
center-pole,  the  cutting  and  transfer  of  which  were  attended  with 
interesting  ceremonies.  The  Dog-soldiers  went  out  with  their  leader, 
Nishikdnawke  (White-Antelope),  at  their  head,  carrying  a  pipe.  With 
them  was  the  high  priest,  Hocheni,  Waanibe,  and  Chaiii.  Having 
arrived  at  the  particular  tree,  which  had  already  been  selected,  and 
which  had  been  ceremonially  captured,  Hocheni  lighted  his  pipe, 
smoked,  and  then  passed  the  pipe  to  the  other  leaders  present. 
Hocheni  then  uttered  a  prayer,  and  the  two  women  with  assistance 
from  some  of  the  men,  chopped  the  tree  down.  Usually,  during  this 
performance,  the  Dog-soldiers  sing  to  the  time  of  the  beating  of  a 
drum  and  the  telling  of  war  stories.  While  the  tree  was  being  felled, 
the  Kit-Fox  and  Thunderbird  societies  joined  them,  and  as  soon  as  the 
tree  had  fallen  and  had  been  trimmed,  the  men  of  the  Dog-soldier 
society  fastened  ropes  to  the  forks  and  dragged  it  up  toward  the 
camp-circle,  where  ensued  a  sham  battle  between  the  Dog-soldiers  on 
the  one  hand,  and  the  men  of  the  Star,  Thunderbird,  and  Kit-Fox 
societies  on  the  other.  The  Lime-Crazy  society  should  also  have 
joined  in  this  battle,  but  they  had  not  been  warned  in  time,  and  conse- 
quently were  not  present.  The  pole  was  then  dragged  to  the  center 
of  the  camping-circle  by  the  Dog-soldiers,  who  as  they  walked,  blew 
on  a  long  eagle-bone  whistle.  It  was  now  about  three  o'clock.  While 
the  center-pole  was  being  brought  in,  other  members  of  the  Dog- 
soldiers  had  made  an  excavation  for  it,  and  trimmed  the  other  poles 
for  the  lodge,  which  had  been  brought  in  on  the  previous  morn- 
ing by  certain  women's  societies. 


PL.  XVII.    Ghost  Dance  Costumes.    Fourth  Day,  1902. 


Members  of  one  of  the  warrior  societies  arrayed  in  Ghost  dance  costume  of 
painted  buckskin,  about  to  start  to  the  scene  of  the  rites  connected  with  the  cap- 
ture of  the  center-pole. 


•  1 


FIELD   COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,   PL.  XVIII. 


PL    XVIII.     D0Q-80LD1ERS    EN    ROUTE  TO  THE   SCENE  OF  THE    CAPTURE   OF  THE 

Center-pole.    Fourth  Day,  1902. 


Fig.  I.    In  front  are  four  leaders  of  the  Dog-soldier  society,  dressed  in  the 
costume  of  the  society. 

Fig.  2.     Musicians  of  the  Dog-soldier  society. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  81 

THE  CENTER-POLE  CAPTURED,  1902. 

As  the  time  approached,  during  the  ceremony  of  1902,  for  the 
formation  of  the  procession  to  go  after  the  center-pole,  the  priests 
within  the  Rabbit-tipi  decorated  their  faces  and  hair  with  red  paint. 
Hawkan,  the  Lodge-Maker's  substitute,  and  Nishnat^yanahad  informal 
talks  inside  the  lodge.  The  substitute  Lodge-Maker  left  his  position, 
and  beginning  at  the  priest  next  to  the  door,  on  the  south  side,  placed 
his  hands  upon  his  head  and  wept,  and  then  passed  on  around,  repeating 
this  performance  over  each  priest,  finally  weeping  over  the  skull  and 
Wheel.  He  was  followed  by  the  Lodge-Maker,  who  went  through 
exactly  the  same' performance.  Then  the  pipe  made  the  ceremonial 
circuit  four  times.  Food  was  brought  into  the  lodge,  the  sacrifice 
made,  and  the  priests  indulged  in  the  usual  feast. 

In  the  mean  time,  various  warrior  societies  had  been  making  prepa- 
ration. They  could  now  be  heard  passing  to  and  fro  about  the  circle, 
all  gayly  costumed,  and  mounted  on  their  painted  ponies,  each  com- 
pany singing  appropriate  songs.  (See  Plate  XVII.)  The  Dog-soldiers 
had  gathered  just  outside  the  Rabbit-tipi,  where  under  a  canvas 
shelter  they  were  singing  songs  and  awaiting  the  appearance  of  the 
priests.  Finally,  the  feast  was  concluded  within  the  Rabbit-tipi,  the 
food  vessels  were  passed  out,  and  the  priests  made  their  appearance. 

The  procession  was  then  formed,  and  started  off  in  the  southeast 
direction  toward  the  place  where  the  center-pole  had  been  located  and 
ceremonially  captured  two  days  before.  Walking  at  the  head  of  the 
procession  was  Nishchdnakati,  bearing  an  eagle-wing  fan;  behind  him 
were  seven  Dog-soldiers  abreast,  each  wearing  appropriate  Dog-soldier 
costume,  including  the  eagle-bone  whistle.  (See  Fig.  i,  Plate  XVIII.) 
Four  of  them  had  the  peculiar  Dog-soldier  rattles.  Next  came  the 
musicians,  surrounding  and  carrying  a  large  drum.  (See  Fig.  2,  Plate 
XVIII.)  Next  in  line  were  several  priests,  walking  abreast.  Imme- 
diately behind  these  were  eight  women,  including  the  Peace-Keeper, 
the  \yife  of  the  Lodge-Maker,  the  wife  of  the  grandfather,  pupils  in  the 
Sun  Dance,  and  those  who  were  to  cut  the  center-pole;  then  followed 
the  Kit-Fox  and  Thunderbird  societies,  mounted  on  horses,  many  of 
them  carrying  small  drums.  At  the  side  of  the  line  rode  Nakadsh 
(Sage),  with  a  black  rattle.  His  presence  may  be  explained  by  the 
fact  that  he  knew  the  location  of  the  center-pole,  and  went  along  in 
the  capacity  of  guide  or  scout.  In  this  fashion  they  filed  across  the 
plain,  beyond  the  camp-circle,  crossed  the  river,  and  entered  the 
Cottonwood  grove  and  halted  just  south  of  a  tall,  straight,  forked 
Cottonwood  tree,  which  had  been  selected  for  the  center-pole.     The 


82         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

warrior  societies  now  hurried  forward  on  their  horses,  made  a  charge 
against  the  tree,  shooting  at  it,  counting  coup,  and  ceremonially 
"killing  it."  Nishchdnakati  went  up  to  the  tree,  embraced  it  four 
times,  calling  upon  Man-Above  for  a  blessing  to  the  people,  while  the 
warrior  societies  and  Dog-soldiers  formed  in  groups  and  sat  down  to 
the  south  of  the  tree.  Handtchawdtant  (Black-Bull)  now  carried  a 
filled  pipe  to  Nishchdnakati,  asking  him  to  offer  a  prayer  for  the 
people.  The  priest  then  got  up,  and  holding  the  pipe  in  front  of  him, 
prayed : 

NISHCHANAKATl's    PRAYER. 

"In  former  years,  your  faithful  servants  gave  away  to  the  Medi- 
cine powers,  robes,  clothing,  eagle  feathers,  and  many  shells.  For 
your  continued  mercy  and  daily  protection  on  the  people,  for  the 
benefit  of  the  tribe,  we  are  obliged  to  recall  those  holy  events,  for  we 
are  young  and  are  lacking  in  the  knowledge  of  ceremonies.  Whatever 
you  old  priests  and  old  women  did  at  these  times,  and  what  you  said 
upon  these  occasions,  may  we  do  and  say  exactly  the  same  to-day. 
We  are  constantly  crying  for  help,  that  we  may  be  relieved  from  hard- 
ship and  kept  free  from  evil.  You  Old-Men  conducted  these  cere- 
monies according  to  laws  of  your  Father,  and  so  we  ask  you  to  repeat 
our  prayer  to  him,  to  give  us  what  things  we  need  in  life.  It  is  the 
desire  of  all  that  prosperity  shall  prevail  hereafter,  for  our  having 
lived  up  to  our  belief.  Although  the  game  is  gone,  which  makes  it 
hard  for  us  to  carry  out  our  lodges,  may  whatever  we  place  for  substi- 
tutes be  pleasing  to  our  Gods,  and  may  we  receive  temporal  blessings. 

"Our  Father,  Man-Above,  your  children  have  selected  me  recently 
for  their  servant  for  this  occasion,  hence  I  have  called  upon  you  for 
guidance  and  direction.  This  I  have  done,  and  now  they  give  me  a 
pipe  to  go  with  them  and  to  get  this  tree,  to  get  a  great  good;  and  we 
request  earnestly  that  by  the  cutting  down  of  it  every  one  will  have  a 
good  future  and  be  free  from  sickness  and  trouble.  Here  is  the  pipe, 
which  you  have  given  us  as  a  token  of  great  love.  Make  us  to  love 
each  other  better  and  let  there  be  good  deeds  and  actions  among  these 
poor  starving  soliders!  Look  upon  these  Dog-soldiers!  Please  give 
them  long  life,  and  may  their  work  to-day  be  a  true  example  to  others! 
Give  them  good  music,  and  let  them  carry  this  tree  to  the  center  in 
safety!  Have  mercy  upon  us  all  and  cause  us  to  arise  in  safety! 
Keep  our  footsteps  straight,  and  may  this  day  be  a  profitable  one  for 
us  all!  And  above  all,  let  the  nation  increase,  so  that  your  holy  cere- 
monies may  be  kept  up!  May  we  fight  and  conquer  the  evil!  Thus 
we  ask,  and  request  you  to  answer." 


May,  1903.         The  Arapaho  Sun  Dance — Porsey.  83 

He  then  touched  the  forefinger  of  his  right  hand  to  the  ground 
and  placed  it  to  the  tip  of  his  tongue,  took  a  bite  of  root,  and  ejected 
spittle  five  times  in  the  palms  of  his  two  hands.  He  then  held  the 
pipe  in  front  of  him,  the  bowl  pointing  upward.  He  then  held  the  pipe 
out  with  the  bowl  pointing  toward  himself,  holding  it  on  his  two  sides 
perpendicularly,  first  on  his  right  side,  then  on  his  left,  then  right, 
then  left,  and  then  along  the  median  line  of  his  body.  He  then  placed 
the  pipe  in  front  of  him,  pointing  the  stem  toward  the  ground. 
Handtchawdtan!  now  came  up,  and  drawing  his  right  hand  down 
Nishchdnakati's  arm  four  times,  rubbed  his  right  hand  over  the  latter's 
right,  the  latter  motioning  the  pipe  toward  him  four  times,  and  giving 
it  up  to  HanatchawatanI,  who  lighted  it. 

The  Sun  Dance  priests  had  now  formed  in  a  crescent-shaped  line 
with  Nishchanakati  at  the  end  on  the  west,  Hanatchawatan!,  who  had 
just  received  the  pipe,  being  next  to  him,  on  his  right.  After  the 
pipe  had  been  lighted,  it  was  passed  unsmoked  to  the  last  man  of  the 
line  at  the  right  or  east  end,  who  smoked  for  a  few  moments,  and  then 
the  pipe  was  passed  down  the  line  toward  the  west,  each  man,  after 
passing  the  pipe,  rubbing  his  hands  together,  then  over  his  body,  head, 
and  face.  The  pipe  was  then  passed  unsmoked  back  to  the  east  end 
of  the  line,  and  then  again  traveled  toward  the  west  end,  being  smoked 
by  each  one  in  turn. 

Hissdhnihani  (Yellow-Woman),  during  this  second  smoking  of  the 
pipe,  stood,  lifted  up  her  hands,  and  uttered  a  prayer,  Nischdnakati 
touched  his  finger  to  the  ground,  then  to  his  tongue,  and  took  a  bite 
of  root,  touched  her  hands  five  times,  ejecting  spittle  at  the  same 
time.  Then  he  spat  on  each  side  of  her  head  and  in  his  hands,  which 
he  rubbed  on  her  head,  and  again  in  his  hands,  which  he  rubbed  on 
her  breast. 

After  the  pipe  had  reached  Nishchdnakati,  he  emptied  it  and 
cleansed  it  in  the  usual  ceremonial  fashion,  when  HandtchawdtanI 
received  it  and  sat  down  in  his  place.  Hissehnihani  then  stepped  in 
front  of  Nishchdnakati  and  placed  her  hands  on  his  head. 

It  had  been  her  intention  to  cut  the  center-pole,  but  owing  to 
indisposition,  she  was  unable,  and  was  compelled  to  secure  a  substi- 
ute.  This  woman,  Wadhsandhi's  (Charcoal's)  wife,  now  came  up, 
together  with  another  woman,  Hdgo's  (Rat's)  wife,  who  was  to  assist 
her,  both  standing  in  front  of  and  asking  a  blessing  from  Nishchdna- 
kati, who  repeated  his  former  performance  with  Hissehnihani  in 
connection  with  both  of  them. 

Nishchdnakati  arose  and  proceeded  to  the  tree,  carrying  a  pipe- 
stem  and  accompanied  by  three  old  women,  each  of  the  women  carry- 


84         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

ing  an  axe.  Nishchdnakati  uttered  another  prayer  (see  Plate  XIX.), 
and  Baihoh  was  led  up  by  Wdtanah  to  the  side  of  Nishchdnakati. 
Here  he  uttered  a  prayer  and  was  then  led  back  to  his  position  among 
the  Dog-soldiers.  The  three  women  then  stepped  back  a  few  feet, 
while  Nishchdnakati  again  prayed,  all  making  a  peculiar  noise  at  the 
end  of  the  prayer.  He  then  stepped  up  to  the  tree,  ejected  spittle, 
and  moved  the  pipe-stem  toward  it  slowly,  four  times,  the  three  women 
making  similar  passes  with  the  axe,  all  touching  the  tree  at  the  fifth 
movement.  (See  Plate  XX.)  Hiss^hnihani  struck  the  tree  once  or 
twice  and  retired  in  favor  of  the  wife  of  WaaksSnna,  and  Wdshieh 
(Ugly),  who  in  an  incredibly  short  space  of  time,  felled  the  tree.  (See 
Plate  XXI.)  During  the  labors  of  the  two  women,  there  was  singing, 
accompanied  by  the  beating  of  a  drum,  on  the  part  of  the  Dog-soldiers, 
and  loud  yelling  and  shouting  and  the  war-whoop  on  the  part  of  the 
other  warrior  societies.  As  the  tree  fell  with  a  crash  toward  the 
north,  all  gave  a  wild  shout,  rushed  up  toward  the  tree,  touching 
the  stump  (thus  counting  coup),  rubbing  their  arms  and  breasts,  and 
then  proceeding  on  toward  the  branches  of  the  tree,  where  each  broke 
off  a  small  branch.  Then  the  warrior  societies  rode  up  and  counted 
coup  in  a  similar  manner.  Hitantuh  (Strikes-First)  then  stepped  off 
five  long  paces  from  the  fork  of  the  tree,  down  toward  the  base.  At 
this  point  the  two  women  again  cut  the  tree.  (See  Plate  XXII.) 
Then  they  cut  off  the  forks  at  the  proper  place,  and  the  tree  was  ready 
to  be  transported  to  the  center  of  the  lodge. 

THE  CENTER-POLE  TAKEN  TO  THE  CAMP-CIRCLE. 

According  to  the  laws  of  the  ceremony,  the  tree  should  have  been 
dragged  with  ropes  in  the  hands  of  the  Dog-soldiers,  but  on  account 
of  the  density  of  the  cottonwood  grove  and  the  steep  banks  of  the 
river  which  it  was  necessary  to  cross,  this  was  not  possible.  It  should 
further  be  stated  that  the  tree  was  of  unusual  size,  although  straight, 
and  well  adapted  for  the  purpose  to  which  it  was  to  be  placed.  It  was 
therefore  loaded  on  a  wagon  by  the  Dog-soldiers,  there  being  much 
shouting  during  this  time,  especially  as  they  began  lifting  upon  the 
tree,  the  shouting  being  acccompanied  by  the  blowing  of  eagle-bone 
whistles.  The  men  began  to  start  back  toward  the  camp.  Just  as 
they  crossed  the  river  (see  Plate  XXIII.)  and  gained  the  bank  on  the 
side  of  the  camp-circle,  they  were  met  by  the  Star  and  Lime-Crazy 
societies  (see  Plate  XXIV.)  who  opposed  them,  and  there  now  ensued 
between  themselves,  on  the  one  hand,  and  the  Kit-Fox,  Thunderbird, 
and  Dog-soldier  societies,  on  the  other,  a  very  interesting  sham  battle. 
(See  Plates  XXV.  and  XXVI.) 


PL.  XIX.    Preliminary  Rite  before  Cutting  the  Center-pole.    Fourth  Day,  1902. 


Beginning  with  the  left,  Nishchandkati,  uttering  a  prayer,  Yellow-Woman,  i 

Wdshieh,  and  wife  of  Wddks6nna.  . 


Pl.  XX.     NiSHCHANAKATI    TOUCHING   THE    TREE   WITH   THE    PiPE-STEM. 

Fourth  Day,  1902. 


The  women  follow  similar  movements  with  the  axe  preparatory  to  cutting 
the  tree. 


FIELD   COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  XX. 


try~^KJr^: 


Pl.  XXI.    Wife  of  WaaksEnna  and  Washieh,  Chopping  down  the  Tree  for  the 
Center-pole.    Fourth  Day,  1902. 


Pl.  XXII.   Wife  of  Waaksenna  Cutting  the  Tree  into  Proper  Length  for  the 
Center-pole.    Fourth  Day,  1902. 


FIELD  COLUMBIAN^MUSEUM. 


ANTHROPOLOGY,  PL.  XXII. 


Pl.  XXIII.    Dog-soldiers  Transferring  the  Center-pole  across  the  River. 
Fourth  Day,  1902. 


Pl.  XXIV.    Before  the  Sham  Battle.    Fourth  Day,  1902. 


The  Star  and  Lime-Crazy  societies  on  the  near  side  of  the  river  bank,  await- 
ing the  arrival  of  the  Dog-soldiers  and  other  societies  for  the  sham  battle. 


PL.  XXV.   The  Warrior  Societies,  after  the  Sham  Battle,    Fourth  Day,  1902.      i 


%Gf:J 


dr^n 


PL.  XXVI.    After  the  Sham  Battle.    Fourth  Day,  1902. 


Thunderbird  society,  with  other  warrior  societies  in  the  background,  each 
warrior  being  armed  with  a  ceremonial  lance. 


PL.  XXVII.    Erecting  the  Offerings-lodge.    Fourth  Day,  1902. 


Members  of  the  Dog-soldier  society,  unloading  the  center-pole  at  the  site  of 
the  Ofiferings-lodge. 


PL.  XXVIil.    Erecting  the  Offerings-lodge.    Fourth  Day,  1902. 


Placing  in  position  the  outer  forked  poles:     Dog-soldiers  directing  the  work. 


PL.  XXIX,    Erecting  the  Offerings-lodge.    Fourth  Day,  1902. 


The  cross-beams  being  lifted  into  place. 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  XXX. 


Pl.  XXX.    The  Paint  of  the  Lodge-Maker'S  Wife. 


Wife  of  Niwaat,  as  painted  in  the  Rabbit-tipi,  preparatory  to  the  rite  of 
decoration  of  the  lodge-poles;  her  costume  consists  of  a  bufifalo  robe,  unpainted, 
and  belt. 


.XXX  .jq 

-'•)gboI  9f!!  ' 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  85 

At  the  conclusion  of  the  battle,  the  procession,  including  the 
priests  and  Dog-soldiers,  surrounding  the  tree,  slowly  passed  up  toward 
the  center  of  the  circle,  the  entire  line  halting  four  times  on  the  way, 
each  pause  being  accompanied  by  dancing  and  singing,  where  the  tree 
was  unloaded.     (See  Plate  XXVII.) 

BUILDING  THE  OFFERINGS-LODGE. 

In  connection  with  the  bringing  in  of  the  poles  which  were  to  be 
used  as  uprights  and  for  other  purposes  in  the  lodge,  it  may  be  stated 
that,  ordinarily,  as  they  are  brought  in  by  the  different  companies, 
before  being  taken  to  the  center  of  the  circle,  they  are  dragged  entirely 
around  the  circle,  sometimes  outside  and  sometimes  inside,  the  com- 
pany singing  all  the  while,  and  being  greeted  by  their  friends  along 
the  way. 

In  the  1902  ceremony  the  performances  attendant  upon  bringing 
in  miscellaneous  timbers,  uprights,  etc.,  for  the  lodge,  were  more 
impressive  and  interesting  than  those  of  the_  preceding  year.  On  up 
to  noon  of  the  fourth  day,  poles  and  boughs  for  the  sides  of  the  lodge 
were  still  being  brought  in  and  deposited  in  the  neighborhood  of  the 
place  selected  for  the  lodge.  All  the  forenoon,  other  members  of 
various  warrior  societies  were  trimming  the  poles  and  digging  the  holes. 
Immediately  after  the  noon  meal  they  began  to  place  in  position  the 
uprights,  cross-pieces,  and  rafters,  so  that  by  four  o'clock  the  lodge 
was  complete  except  for  the  center-pole  and  the  four  rafter-beams, 
which  were  to  be  painted.     (See  Plates  XXVIII.,  XXIX.,  and  XXX.) 

During  the  work,  the  Dog-soldiers  gathered  under  a  shelter  arbor 
near  by,  and  sang  to  the  accompaniment  of  the  beating  of  the  big 
drum,  thus,  as  they  said,  encouraging  and  making  lighter  the  labors 
of  those  working  in  building  the  lodge. 

When  the  work  was  completed,  all  gathered  in  groups,  awaiting 
the  appearance  of  the  priests,  Lodge-Maker,  and  others  from  the 
Rabbit-tipi. 

FINAL  RITES   IN  THE  RABBIT-TIPI. 

While  these  active  preparations  are  going  on  for  the  erection  of 
the  great  lodge,  and  while  still  other  bands  of  women  were  bringing  in 
Cottonwood  boughs,  willow  brush,  etc.,  to  be  used  in  the  erection  of 
the  lodge,  certain  preparations  have  been  taking  place  in  the  Rabbit- 
tipi.  It  was  first  necessary  to  complete  the  preparation  of  the  buffalo 
head  which  had  been  brought  in  from  the  field  on  horseback  by 
Heich^biwa.  Yahiise  brought  in  several  black-tipped  eagle  feathers 
and  two  shell  discs  or  gorgets.      These,  it  was  said,  represented  an 


86         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

offering  or  sacrifice  on  his  part  and  were  akin  to  a  prayer  for  blessing. 
Inasmuch  as  Yahiise  was  blind,  Chanitoe  took  these  objects  from 
Yahiise  and  fastened  the  two  discs  to  the  buffalo  robe  on  the  head, 
while  the  eagle  feathers  were  fastened  just  in  front  of  the  discs.  In 
the  forepart  of  the  head  of  the  robe  were  then  made  two  large  slits. 

THE  "PACKED"  BIRD. 

In  connection  with  the  preparation  of  the  medicine  water  at  the 
termination  of  the  dance,  the  absence  of  a  Certain  bird  will  be  noted  in 
the  account  to  be  given  later  on.  Special  effort  was  made  during  the 
ceremony  of  1902  to  secure  this  bird,  and  although  many  had  been 
warned  to  look  after  and  bring  it  into  camp,  and  although  careful 
search  was  made  among  the  tipis  of  the  camp-circle,  as  well  as  among 
the  tipis  of  the  visiting  Cheyenne,  the  priests  were  not  able  to  secure  it. 

In  order  that  it  might  be  ceremon-ially  represented,  at  least,  in  the 
1902  performance,  Hawkan,  early  in  the  morning  of  the  fourth  day, 
brought  into  the  lodge  a  small  cottonwood  stick  about  three  feet  in 
length,  split  at  one  end  and  sharpened  at  the  other,  having  gone 
through  the  usual  rite  before  splitting  it.  On  entering  the  lodge,  he 
proceeded  to  the  buffalo  skull  and  inserted  the  sharpened  end  into  the 
ground  just  south  of  the  forward  end  of  the  skull.  It  was  so  placed 
that  the  fork  extended  in  an  east  and  west  direction.  In  the  fork  he 
then  placed  a  small  bunch  of  sage,  representing  the  bird.  The  author's 
attention  was  called  to  the  fact  by  Hawkan,  that  if  the  bird  had  been 
in  its  proper  position,  it  would  have  faced  the  north,  thus  overlook- 
ing the  skull  and  Wheel. 

THE  DIGGING-STICK  PREPARED. 

The  preparation  of  this  stick  was  not  witnessed  in  the  1901  per- 
formance. In  1902,  immediately  on  the  return  of  the  priests  to  the 
Rabbit-tipi,  after  the  bringing  in  of  the  center-pole,  Thiyeh  entered 
the  lodge,  bearing  the  second  of  the  two  forked  sticks,  used  on  a 
previous  occasion  in  connection  with  the  rites  attendant  upon  the 
capture  of  the  buffalo.  Placing  the  stick  in  front  of  Hocheni,  with 
her  hands  upon  his  head,  she  uttered  a  short  prayer,  whereupon  he 
touched  the  forefinger  of  his  right  hand  to  the  ground,  then  touched 
his  tongue,  took  a  bite  of  root,  spat  toward  the  digging-stick  four 
times,  pointing  at  the  same  time  with  the  pipe-stem,  the  fifth  time 
indicating  directly  upon  the  stick  the  place  where  it  was  to  be  cut. 
She  now  took  the  stick  outside  to  cut  it  at  this  point,  and  soon 
returned  with  it,  passing  it  to  her  husband.  There  then  followed  the 
usual  ceremonial  smoking  of  the  pipe,  it  making  the  circuit  four  times. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  87 

HEALING  CEREMONY  WITH  THE  WHEEL,  1902. 

Although  this  rite  has  been  fully  described  in  connection  with  the 
account  of  the  Wheel,  it  may  add  to  the  completeness  of  the  detailed 
account  of  the  ceremony  to  note  that  at  about  noon  of  the  fourth  or 
last  day  of  the  Rabbit-tipi,  a  man  by  the  name  of  HaanI  (Mountain), 
together  with  his  wife  and  two  sick  children,  entered  the  lodge,  Ha^nl 
bearing  in  one  hand  a  filled  pipe,  and  in  the  other  a  piece  of  calico. 
There  was  the  usual  preliminary  performance,  the  ceremonial  smoking 
of  the  pipe,  the  introduction  of  the  feast,  the  sacrifice  of  food,  and  the 
partaking  of  food.  Then  Haanl,  with  one  of  his  children  in  his  lap, 
followed  by  his  wife  with  the  other  child  in  her  lap,  was  cleansed  by 
the  Wheel.  It  was  noticed  that  on  this  occasion,  as  the  Wheel  was 
placed  to  the  mouth,  the  head  of  the  snake  was  directed  south,  the 
Wheel  being  placed  to  the  mouth  four  times.  Then  came  the  usual 
offering  of  the  calico  with  the  accompanying  prayer,  and  the  final 
wrapping  of  the  Wheel. 

The  rite  was  performed  just  before  the  painting  of  the  Lodge- 
Maker  and  his  companions  for  their  final  departure  from  the  Rabbit- 
tipi.  The  healing  rite,  requiring,  as  it  does,  nearly  an  hour  for  its 
performance,  delayed  the  afternoon  rites  of  the  painting,  and  conse- 
quently the  final  preparations  at  the  Offerings-lodge.  That  this 
might  not  occur,  Hawkan  protested  against  allowing  HaanK  to  "wrap 
the  Wheel,"  but  the  latter  was  so  earnest  in  his  desire,  and  pleaded 
so  strongly,  that  he.  was  given  the  privilege. 

THE  PRIVILEGE  OF  PAINTING  THE  CENTER-POLE. 

This,  together  with  certain  other  privileges,  belongs  naturally  to 
the  Lodge-Maker  of  the  ceremony.  For  reasons  already  explained, 
there  were,  in  reality,  two  Lodge-Makers  in  1902.  On  account  of 
certain  physical  infirmities  which  he  believed  he  could  remedy,  Yahiise, 
already  alluded  to  a  number  of  times  in  the  early  pages  of  this  paper, 
desired  also  the  privilege  of  assisting  in  the  painting  of  the  center- 
pole,  as  well  as,  later  on,  of  "wearing  the  Lodge-Maker's  paint."  He 
therefore  entered  the  lodge  in  the  forenoon  of  this  day,  bearing  a 
filled  pipe. 

Proceeding  to  Nishnateyana,  he  handed  him  the  pipe  and  placed 
his  hands  upon  his  head  and  wept — a  supplication  that  he  might  be 
allowed  the  privilege  of  the  paint.  The  substitute  Lodge-Maker  at 
this  time  also  went  through  a  similar  performance.  Yahiise's  pipe  was 
now  passed  to  Hocheni,  who,  holding  it  by  the  stem  with  both  hands, 
the  bowl  of  the  pipe  being  upwards,  motioned  it  toward  the  southeast, 


88         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

southwest,  northwest,  northeast;  then  reversing  it,  pointed  the  stem 
to  the  above  and  to  the  below,  then  toward  the  fireplace,  then  toward 
the  Wheel. 

Yahiise  now  should  have  received  the  pipe  and  lighted  it,  but 
being  blind,  this  rite  was  done  by  Wadtanakashi.  The  latter 
approached  Hdcheni,  and  drawing  his  right  hand  down  Hocheni's 
arm,  received  the  pipe  from  him,  took  it  to  the  fireplace,  lighted  it, 
and  returned  it  to  Hocheni,  who  again  made  the  ceremonial  move- 
ments with  the  pipe,  this  time  pointing  with  the  stem  instead  of  the 
bowl.  The  pipe  was  then  passed  around  the  circle,  according  to  the 
usual  manner  of  procedure,  each  priest,  as  he  received  the  pipe,  taking 
four  puffs.     The  pipe  made  the  circuit  four  times. 

The  substitute  Lodge-Maker's  pipe  was  then  also  passed  to 
Hocheni  to  be  smoked.  The  method  of  lighting  the  pipe,  etc.,  was 
practically  the  same  as  just  described.  One  or  two  points  of  differ- 
ence were  noted,  however,  which  may  have  been  carelessness  on 
Hocheni's  part,  owing  to  his  great  age.  First,  he  touched  the  fore- 
finger of  his  right  hand  to  the  ground,  then  to  his  tongue,  took  a  bite 
of  root,  and  pointed  with  the  bowl  toward  the  four  directions.  He 
then  reversed  the  pipe,  and  pointed  with  the  stem  upwards,  toward 
the  east,  toward  the  fireplace,  toward  the  Wheel,  and  then  toward  the 
earth.  He  then  took  a  pinch  of  tobacco  from  the  pipe  and  deposited 
it  upon  the  ground  in  front  of  him,  puffed  upon  the  unlighted  pipe 
four  times,  whereupon  it  was  received  by  the  owner  and  smoked,  as 
had  been  the  preceding  pipe. 

Each  pipe,  after  having  made  the  circuit  of  the  lodge  four  times, 
was  returned  to  Hocheni  for  cleansing.  After  having  removed  the 
ashes  from  the  pipe,  in  a  manner  already  described  several  times  in 
the  previous  pages  of  this  paper,  he  held  the  pipe  in  his  left  hand 
with  the  point  of  the  stem  downward,  touched  his  right  hand  upon  the 
ground,  then,  beginning  with  the  bowl,  he  rubbed  down  along  the  pipe 
with  his  right  hand,  transferred  it  to  his  right  hand,  made  a  similar 
motion  with  the  left,  again  placed  the  pipe  in  the  left,  and  made  a 
similar  motion  with  the  right,  thus  cleansing  it.  As  the  pipe  was 
received  from  him,  the  owner,  in  each  case  placed  his  left  hand  upon 
the  pipe  and  drew  his  right  hand  down  Hdcheni's  arm  four  times. 
Then,  placing  his  right  hand  upon  Hdcheni's  right  hand,  the  latter 
motioned  the  pipe  toward  him  four  times,  slowly  releasing  the  pipe. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  89 

THE  LODGE-MAKER  PAINTED,  1901. 

It  was  how  announced  from  the  outside  that  preparations  were 
complete  for  the  beginning  of  the  erection  of  the  lodge,  and  those 
inside  the  Rabbit-tipi  prepared  to  leave.  Debithe  now  painted 
Thihauchhawkan  white  from  head  to  foot,  his  body  being  naked 
except  for  a  loin-cloth.  Hawkan  painted  Waatu  (Warrior),  and 
Chanitoe  painted  Bihata  (Black-Hat),  in  a  similar  manner,  while 
Sosoni  and  Waanibe  painted  Biba,  the  wife  of  the  Lodge-Maker,  red. 
The  Lodge-Maker  and  the  two  dancers  carried  the  regular  Sun  Dance 
whistles  of  the  wing  bone  of  the  eagle,  wore  an  eagle  breath-feather  in 
their  hair,  and  now  put  around  the  loins  a  buckskin  kilt.  Biba  wore 
only  a-  buckskin  shirt.  The  white  paint  of  the  Lodge-Maker  repre- 
sented the  wish,  employed  by  all  acts  during  the  ceremony,  for  long 
life,  while  the  red  paint  of  the  woman  was  symbolic  of  the  earth,  which 
she  here  represented.  The  presence  of  Waatu  and  Bihata  on  this 
occasion  was  entirely  voluntary  on  their  part,  although  it  should  be 
stated  here  that  they  were  two  of  the  number  of  the  dancers  after  the 
completion  of  the  lodge. 

THE  LODGE-MAKER  AND  ASSOCIATES  PAINTED,  1902. 

The  details  of  the  rite  were  carefully  noted  during  the  1902  per- 
formance, and  are  here  introduced  as  supplementary  to  the  account 
given  the  author  by  Hawkan  of  the  rite  as  it  took  place  in  the  cere- 
mony of  the  previous  year. 

All  preliminary  rites  and  preparations  had  been  completed  in  the 
Rabbit-tipi,  while  the  great  lodge  outside  was  erected  and  only  awaited 
the  arrival  of  the  priests  for  its  completion,  for  it  now  lacked  only  the 
center-pole  and  four  of  the  rafters.  The  substitute  Lodge-Maker  was 
the  first  to  leave  his  position  in  the  circle,  and  took  a  position  in  front 
of  Hocheni,  Chanitoe  supplied  the  coal  and  accompanying  incense 
for  Hocheni,  who  proceeded  to  apply  the  preliminary  paint,  or  "poul- 
tice," as  it  is  called.  This  rite  was  exactly  similar  to  that  employed 
by  Hdcheni  on  painting  the  same  individual  on  the  previous  day,  before 
the  Lodge-Maker  set  out  to  collect  the  offerings  from  his  friends 
in  the  camp-circle,  and  consequently  need  not  be  again  described. 

He  then,  taking  the  cup  of  lime  paint,  passed  it  over  near  the 
door,  where  he  proceeded  to  apply  a  thick  coat  over  his  body,  from 
head  to  foot.  Next  came  Yahiise,  and  then  the  Lodge-Maker  himself, 
both  at  the  conclusion  of  the  application  of  the  "poultice"  applying 
an  even  coat  of  the  lime  paint  over  their  bodies.  The  three  now  sat 
down  facing,  respectively,  Hawkan,  Nishnateyana,  and  Chanitoe. 


90         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

At  this  time,  Wahiibahu  (Bear-Track),  came  in  bearing  an  eagle- 
bone  whistle.  This  individual  was  to  fast  and  dance  during  the  coming 
ceremony  in  the  great  lodge,  and  though  he  was  not  to  wear  the 
Lodge-Maker's  paint  throughout  the  ceremony,  he,  for  some  reason 
not  learned  by  the  author,  was  on  this  day  to  bear  the  Lodge-Maker's 
paint.  Without  further  ceremony  he  placed  himself  in  front  of 
Watangaa,  who  painted  him  in  the  manner  about  to  be  described  for 
the  other  three.     Hdwkan  offered  the  following  prayer: 

hAwkan's  prayer. 

"It  is  this  time  of  day,  my  Father,  Man- Above,  that  we  call  upon 
you  for  your  assistance.  We  are  helpers  in  every  way;  so,  my  guard- 
ians, Four-Old-Men,  listen,  watch,  and  guide  me  aright!  Your  first 
painting  of  our  former  children  I  am  going  to  imitate,  for  the  cleans 
ing  and  purifying  of  sins  and  sickness.  Will  you  please  give  us  good 
days  during  this  ceremony!  Let  this  paint  which  we  are  about  to  use 
upon  these  young  children  be  the  light  of  this  tribe!  Let  your  roads 
of  good  prospects  shine  upon  us!  Give  more  light  during  the  day  for 
vegetation,  for  our  stock,  for  ourselves!  My  dear  ancient  Grand- 
fathers, Grandmothers,  Rabbit-tipi  People,  Sun  Dance  Lodge-Makers, 
Sun  Dance  Old-Men,  Sun  Dance  Old-Women,  Sun  Dance  Children — 
let  your  spirits  come  closer  to  us!  Guide  us  straight,  that  we  may  do 
works  in  harmony  with  you!  I  know  that  I  am  young,  but  this  was 
the  way  which  you  showed  me,  and  it  is  the  desire  that  this  lodge, 
about  to  be  made,  shall  be  the  painting  (cleansing)  for  all  people  and 
that  it  will  bring  prosperity  and  happiness." 

Hdwkan,  Nishnatdyana,  and  Chanitoe  now  proceeded  to  apply  the 
decoration  to  the  three  dancers,  over  the  coat  of  white  paint.  First, 
was  made  on  each  one,  a  black  line  about  the  left  wrist  and  about  the 
left  ankle.  Similar  circular  bands  were  then  made  about  the  right 
wrist  and  ankle.  Next,  a  black  band  was  drawn  about  the  face,  passing 
across  the  middle  of  the  chin,  through  the  middle  of  the  forehead,  and 
over  the  most  prominent  part  of  the  cheeks.  Then  a  solid  circular 
design,  about  three  inches  in  diameter,  was  drawn  upon  the  breast, 
and  a  crescent-shaped  line  on  the  back  of  the  left  shoulder. 

The  lines  on  the  arms  and  ankles  were  now  connected  to  the 
symbol  on  the  breast  by  straight  lines,  which  passed  from  the  wrists, 
up  to  the  arms,  over  the  shoulders,  down  to  the  breast  symbol,  then  on 
down  the  sides  of  the  body,  and  so  on  down  to  the  ankles.  On  the 
top  of  the  circle  on  the  breast,  and  also  upon  the  center  of  the  fore- 
head just  above  the  black  line  encircling  the  face,  was  drawn  a  small 
design  representing  a  human  being.      Under  the  eyes  were  drawn  tear 


May,  1903.         The  Arapaho  Sun  Dance — Dorsev.  91 

symbols,  and  on  the  nose  was  the  usual  black  dot,  the  symbol  of  the 
buffalo  calf. 

The  circle  on  the  breast  was  said  to  represent  the  Grandfather, 
the  Sun,  with  its  radiating  paths  leading  to  the  four  corners  of  the 
earth,  viz.,  the  circles  about  the  wrists  and  ankles,  which  also  were 
said  to  represent  suns,  and  also  the  Four-Old-Men.  This  paint  is 
known  as  the  "rain  paint." 

At  the  conclusion  of  the  decoration  of  the  bodies  of  these  four 
individuals  they  returned  to  their  position  on  the  northwest  side  of  the 
circle  and  began  to  put  on  their  costumes.  First,  each  put  on  a  buck- 
skin kiltj  then  the  eagle  breath-feather  in  the  hair,  while  about  their 
neck  they  placed  a  buckskin  thong  bearing  the  eagle-bone  whistle. 
The  head  ornamentation  of  the  substitute  Lodge-Maker  consisted  of 
several  eagle  breath-feathers  bound  together  at  their  base  by  wrap- 
pings, decorated  with  rows  of  blue  beads,  the  feathers  being  stained 
yellow.  In  size  and  construction  this  headdress  bore  a  striking 
resemblance  to  the  two  feather  ornaments  seen  on  the  preceding  day 
at  the  time  of  the  painting  of  the  sacred  belt. 

Each  one  now  stood  up  and  drew  around  him  his  buffalo  robe,  the 
hair  side  being  out.  Each  one  received  from  Hawkan  a  pinch  of  cedar 
leaves,  which  he  placed  upon  a  live  coal  drawn  from  the  fire.  Each 
one  now  stood  over  the  coal,  then  stooped  down,  drawing  his  blanket 
tightly  around  himself  and  bathing  his  body  in  the  rising  incense.  All 
being  in  readiness,  Hawkan  uttered  this  prayer: 

hawkan's  prayer. 

"We  are  now  come  again,  united  in  thought,  for  this  holy  occa- 
sion, that  this  race  may  continue,  and  that  all  people  may  continue. 
This  tallow  which  you  gave  us  is  our  skin.  May  it  be  a  good  seed. 
We  call  you  through  the  merits  of  your  grandchildren,  who  have  shown 
us  the  way  and  provided  good  directions  for  us.  If  we  are  wrong, 
lead  us  in  the  right  path  again ! 

"Now,  my  Grandfather  (the  Wheel),  your  foundation  was  once 
blown  down,  and  it  was  by  the  conscientiousness  of  .your  child  (Yahdse), 
a  young  orphan  among  us,  who  went  and  got  the  Wheel  from  the 
grave.  By  the  resurrection  of  this  holy  Wheel  we  have  been  saved  to 
this  day  as  a  nation.  Of  course  you  know  that  we  are  young  in  the 
ways  of  our  forefathers,  and  old  things  have  to  a  certain  extent  gone 
out  of  existence,  and  we  are  under  obligations  to  call  unto  you  for 
your  sympathy.  Through  some  carelessness  of  your  servant  (Yahiise), 
he  forgot  to  take  the  Wheel  with  him,  and  some  one  of  the  children  of 
yours,  who  did  not  know  our  holy  lodge,  went  and  took  down  the  big 


92         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

Wheel  and  took  from  it  its  feathers;  but  through  the  efforts  .of  his 
children,  it  was  redeemed  ;  so  this  day  we  are  here  with  the  big  Wheel, 
to  make  our  offering  to  you  and  to  all  mysterious  beings.  Remember, 
our  Father,  that  we  put  our  faith  and  confidence  in  you  for  life. 
When  you  are  taken  out  before  the  people  to-day,  please  extend  our 
prayers  to  your  Father  and  to  our  Father,  too,  that  in  years  to  come 
this  holy  lodge  may  be  prolonged,  and  that  people  of  different  tribes 
may  unite  in  brotherly  love. 

"My  Grandmother,  Old-Woman-Night,  be  still;  bend  your  ears 
and  hear  our  prayer,  that  we  who  come  together  out  of  respect  to  your    ^ 
sacred  orders  may  be  supplied  with  good  rest  at  night,  and  that  we 
may    be   permitted   to   rise   on   the   next   day.      May  your   ways  and 
methods  be  a  light  to  us,  and  may  our  path  be  firm  into  old  age!" 

All  now  left  the  lodge  except  Hdwkan  and  Naen,  the  wife  of 
Waatanakashi,  the  substitute  Lodge-Maker,  and  the  Peace-Keeper. 
All  returned  a  few  moments  later,  when  it  was  found  that  NaSn  had 
been  painted  during  the  interval.  (See  Plate  XXX.)  About  her  face 
was  a  black  line,  and  on  the  center  of  her  breast  was  a  circular  symbol 
painted  in  black,  about  two  inches  in  diameter.  On  her  nose  was  a  small 
black  dot,  while  just  above,  beginning  near  the  center  of  her  forehead, 
was  an  elongated  Y-shaped  design.  On  each  cheek  and  on  her  chin 
were  symbols  of  pipes,  the  bowls  of  the  two  pipes  on  her  cheeks  being 
turned  toward  her  mouth,  while  the  bowl  of  the  pipe  on  her  chin  was 
turned  toward  her  right  side.  On  opposite  sides  of  her  breast  and 
just  above  the  black  circular  symbol  were  also  two  symbols  of  pipes, 
their  bowls  facing  toward  the  median  line  of  her  body,  while  in  the 
center  of  her  breast  and  above  these  two  pipes  was  an  additional 
pipe,  the  bowl  of  this  being  turned  toward  the  left  side  of  her  body. 
Around  her  arms  and  ankles  were  painted  narrow  bands  in  black. 
Fastened  around  her  waist  and  covering  the  lower  portion  of  her  body, 
was  a  buffalo  robe,  while  over  this  was  the  sacred  belt,  the  ends  of  the 
belt  being  tied  behind,  and  the  apron  extending  down  in  front. 

All  the  priests  now  entered  the  lodge;  each  took  up  some  piece  of 
the  ceremonial  paraphernalia  and  all  preparations  were  completed  for 
abandoning  the  lodge. 

THE  RABBIT-TIPI  ABANDONED. 

Debithe  now  took  up  the  buffalo  skull,  and  carrying  it  carefully 
and  proceeding  slowly,  deposited  it  upon  the  little  mound  of  earth 
which  had  been  made  about  half-way  between  the  Rabbit-tipi  and  the 
place  of  the  Offerings-lodge.  Then  several  objects  in  the  Rabbit-tipi 
were  removed  and  placed  by  the  side  of  the  skull.     All  now  left  the 


FIELD  COLUMBIAN '.MUSEUM. 


ANTHROPOLOGY,  PL.  XXXI. 


PL.  XXXI.    Warrior  Societies  about  the  Offerings-lodge  Awaiting  the  Appear- 
ance   OF   THE    RABBIT-TIPI    PRIESTS.     FOURTH    DAY,    1902. 


Fig.  I.  Members  of  the  Thunderbird  society  bringing  to  the  scene  tipi- 
poles,  which  are  fastened  together  near  their  smaller  extremity  with  rawhide 
thongs,  to  be  used  in  lifting  into  position  the  reach-poles. 

Fig.  2.     In  foreground  are  members  of  the  Uog-soldier  society. 


bOlXOIgSK*!  fll      .1 


FIELD  COLUMBIAN   MUSEUM. 


ANTHROPOLOGY,  PL.  XXXII. 


Pl.  XXXII.    Rabbit-tipi  Priests  Leaving  the  Rabbit-tipi.    Fourth  Day,  1902. 


Fig.  I.  In  front  and  at  one  side,  is  Hocheni;  at  the  head  of  the  line  and  in 
front  of  H6cheni,  Nishnat^yana  with  the  buffalo  skull;  behind  him  in  order,  are 
Thi'yeh  with  the  wheel,  Chanitoe  with  the  buffalo  robe,  Watdngaa  with  the 
Badger-pack,  Debithe  with  the  straight-pipe,  Nfwaat  with  the  bag  of  red  paint, 
Watdngaa  with  a  bag  of  black  paint,  Wahubahu  with  the  ceremonial  knife,  and 
Yahiise  with  the  ceremonial  digging-stick. 

Fig.  2.  The  same  priests,  in  the  order  as  just  given:  Nishnat^yana  deposit- 
ing the  buffalo  skull:  In  the  rear  of  the  line  is  Hdwkan. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  93 

Rabbit-tipi,  taking  with  them  the  remaining  objects,  and  proceeded 
in  the  direction  of  the  Offerings-lodge.  In  this  procession  Debithe 
carried  the  straight-pipe,  the  Lodge-Maker  the  knife  representing  a 
lance,  and  Biba  the  Wheel  with  its  willow  support,  while  Bihata  had  a 
sack  of  red  paint  and  Waatu  a  sack  of  black  paint. 

THE  RABBIT-TIPI   ABANDONED,  1902. 

J  As  has  already  been  stated,  all  preparations  were  now  completed 
on  the  part  of  the  priests  within  the  lodge,  and  they  were  now  to  start 
out  for  the  ceremony  of  painting  the  poles  and  for  the  completion  of 
the  Offerings-lodge  proper. 

The  scenes  outside  during  the  painting  of  the  dancers  and  the 
final  preparations  of  the  priests  had  been  unusually  interesting.  The 
inhabitants  of  the  entire  camp-circle,  together  with  large  numbers  of 
spectators  from  visiting  tribes,  were  gathered  in  groups  here  and  there 
in  the  great  enclosure.  Near  the  Rabbit-tipi  were  the  Dog-soldiers, 
appropriately  costumed,  while  in  other  groups  were  the  Kit-Fox,  Star, 
Lime-Crazy,  and  Thunderbird  organizations,  all  gayly  attired,  singing 
appropriate  songs.     (See  Plate  XXXL) 

At  a  signal  from  Hdwkan,  Nishnat^yana  took  up  the  buffalo  skull, 
Thiyeh  the  Wheel  and  the  digging-stick  for  the  sod,  Chanitoe  the 
buffalo  robe,  Watangaa  the  Badger-pack,  Debithe  the  straight-pipe, 
the  Lodge-Maker  the  bag  of  red  paint,  Waatanakashi,  the  bag  of 
black  paint,  Wahiibahu  the  ceremonial  knife  or  dagger,  Yahiise  the 
digging-stick,  while  Hawkan  took  up  the  support  for  the  Wheel,  as 
well  as  the  support  for  the  sage  representing  the  bird  and  the  leathern 
case  for  the  belt.  In  this  order  they  filed  out  of  the  tipi  and  halted 
in  the  open  space  just  east  of  the  Rabbit-tipi.  (See  Plate  XXXII.) 
On  halting,  Nishnateyana  deposited  the  skull,  and  by  its  side  were 
deposited  the  robe,  the  two  digging-sticks,  the  Badger-pack,  and  the 
leathern  sack  or  receptacle  for  the  belt. 

This  marks  the  termination  of  the  rites  of  the  Rabbit-tipi.  A  few 
moments  later,  while  the  priests  were  engaged  in  rites  at  the  Offerings- 
lodge,  Thiyeh  and  Waanibe  came  up,  and  without  formality  took  the 
Rabbit-tipi  down  and  restored  it  to  its  owner  in  its  proper  position  in 
the  camp-circle. 

THE  LODGE-POLES  PAINTED. 

With  Chanitoe  at  the  head  of  the  line,  they  turned,  after  emerging 
from  the  tipi,  and  facing  toward  the  setting  sun,  each  placed  one  foot 
near  the  bottom  of  the  pole  They  now  began  singing,  and  each 
raised  whatever  he  held   in  his  hand  toward  the  sun.      Debithe  now 


94         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

indicated  on  the  center-pole  with  the  stem  of  his  straight  ceremonial 
pipe  where  the  two  rings,  one  of  red  and  one  of  black,  were  to  be 
painted.  Then  the  Lodge-Maker  and  his  wife  went  through  the  same 
performance.  Then  Wadtu  painted  a  black  ring  about  ten  feet  from 
the  end  of  the  pole,  and  about  five  inches  in  width.  Then  Bihatu 
painted  a  red  band  just  above  it.  Debithe,  followed  by  these  same 
individuals,  now  went  to  one  of  the  poles  on  the  south  side  and  indi- 
cated where  it  should  be  painted,  and  Waatu  painted  a  black  band 
about  the  pole.  This  performance  was  repeated  to  another  pole  on 
the  south,  whereupon  all  proceeded  to  the  north  side  of  the  space,  and 
went  through  the  same  performance,  Bihata,  after  the  poles  had  been 
selected,  painting  each  one  with  a  red  band.  Several  men  and  women 
now  came  forward  from  the  throng  of  spectators  and  tied  calico  to 
these  poles. 

Certain  members  of  the  Dog-soldier  society  now  took  a  large 
number  of  willow  boughs,  divided  them  into  two  piles,  and  reunited 
them,  placing  the  ends  of  each  pile  in  opposite  directions.  These 
were  then  securely  tied  into  a  bundle  by  means  of  a  long  rawhide 
rope,  which,  as  has  been  noticed,  was  prepared  in  the  Rabbit-tipi. 
This  bundle  was  then  fastened  in  the  fork  of  the  center-pole.  The 
buffalo  robe  was  now  placed  in  the  fork  of  the  tree  so  that  the  head 
of  the  robe  hung  over  a  short  distance  on  one  side. 

During  the  painting  of  the  poles,  members  of  the  Star  and  Kit- 
Fox  societies  had  secured  small  forked  poles  and  tipi  poles  which  they 
fastened  together  in  pairs,  like  scissors,  by  means  of  buckskin  thongs 
near  the  upper  ends,  to  help  in  the  raising  of  the  center-pole.  Then 
Naaseh  stood  by  the  side  of  the  fork  and  uttered  a  prayer  and  told 
his  war  story,  relating  how  he  stabbed  the  enemy  with  a  lance,  and  as 
he  did  so,  he  thrust  the  digging-stick,  which  had  been  handed  him,  in 
the  bundle  of  willows. 

THE  LODGE-POLES  PAINTED,  1902. 

We  left  the  line  of  priests  by  the  side  of  the  buffalo  skull,  where 
certain  other  objects  of  ceremonial  nature  had  been  deposited.  They 
now  continued  in  single  file  on  toward  the  east,  where  they  encircled 
the  lodge  in  sunwise  circuit.  Having  arrived  at  the  northwest  corner 
of  the  lodge  they  drew  up  in  line,  having  in  front  of  them  one  of  the 
four  rafter-poles,  which  purposely  had  been  left  on  the  ground. 
Hdwkan  then  prayed.  (See  Fig.  i,  Plate  XXXIIL)  Then  the  follow- 
ing stepped  on  the  base  of  the  tree  and  returned  to  their  positions  in 
the  line — Hdwkan,  Debithe,  Nd§n,  Wadtanakashi,  the  Lodge-Maker, 
Wahiibahu,    and    Yahiise.      Nishnat^yana    now    made    four    motions 


.S    Nr<; 


PL.  XXXIII.    Preliminary  Rite  before  Painting  the  Reach-poles. 
Fourth  Day,  1902. 


Fig.  I.  Hdwkan  praying  at  the  first  lodge-pole;  Nishnat^yana  holding  aloft 
the  pipe-stem;  Thiyeh  the  Wheel;  and  Wahiibahu  the  ceremonial  knife. 

Fig.  2.  Thfyeh  touching  the  pole,  preparatory  to  its  being  painted,  with  the 
feathers  of  the  Wheel. 


FIELD   COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,   PL.  XXXIII. 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  XXXIV. 


PL.  XXXIV.    Painting  the  Reach-pole.   Fourth  Day,  1902. 


Fig.  I.    Thiyeh  touching  the  pole  with  the  feathers  of  the  Wheel. 
Fig.  2.     Ndwaht  placing  the  band  of  red  paint  to  the  reach-pole  between  the 
points  previously  indicated  by  the  pipe-stem,  the  Wheel,  and  the  ceremonial  knife. 


Pl.  XXXV.    Painting  the  Center-pole.    Fourth  Day,  1902. 

Nishnat^yana  with  the  pipe-stem,  and  Thfyeh  with  the  Wheel,  indicating 
upon  the  pole  the  location  of  the  bands  of  paint. 


IP  Vj --»*."..•  ;.■»!*{' 0" 3-.-  -:.•-■;'»»■!»■. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  95 

toward  the  middle  of  the  pole  with  the  pipe-stem,  then  touched  it, 
passing  the  pipe-stem  around  the  pole,  and  then  repeated  this  per- 
formance a  few  inches  higher  up  on  the  pole.  Thiyeh  went  through 
the  same  performance,  but  with  the  Wheel  (see  Fig.  2,  Plate  XXXIII.), 
touching  the  pole  with  the  feathers  of  the  Wheel  in  the  two  places  just 
indicated  by  Nishnat^yana,  while  Wahiibahu  touched  the  pole  in  the 
same  way  with  the  knife.  The  Lodge-Maker  then  opened  the  bag  of 
red  paint,  and  between  the  two  marks  thus  indicated  by  the  pipe-stem 
and  the  Wheel  he  painted  a  red  band,  which  encircled  the  pole.  (See 
Figs.  I  and  2,  Plate  XXXIV.) 

The  first  pole  having  been  painted,  the  line  then  continued  on 
around  the  lodge  until  they  came  to  the  northeast  pole.  Here  rites 
were  performed  exactly  similar  to  those  performed  at  the  first  pole, 
this  also  being  painted  with  a  band  of  red. 

Again  the  line  of  priests  made  the  circuit  of  the  lodg^,  halting  at 
the  southeast  corner,  where  similar  rites  were  performed.  This  pole, 
however,  was  painted  black,  the  work  being  done  by  Waatanakashi. 
Again  the  line  moved  around  the  circle,  halting  at  the  southwest 
corner,  where  the  fourth  and  last  pole  was  painted  with  similar  rites. 
This  also  was  done  by  Waatanakashi. 

Many  parents,  accompanied  by  their  children,  now  came  forward 
from  the  crowd  of  surrounding  spectators,  and  touched  one  or  another 
of  these  poles,  some  of  them  tying  to  the  poles  pieces  of  red  and 
black  calico. 

The  priests  now  continued  on  around  the  lodge  in  sunwise  circuit. 
Arriving  at  the  eastern  entrance  of  the  lodge,  they  entered  and  passed 
in  single  file  to  the  center-pole^  which  it  will  be  remembered,  had  been 
placed  inside  of  the  lodge  with  its  base  near  the  hole  which  had  been 
dug  for  receiving  it,  while  the  fork  extended  toward  the  west,  lying 
in  a  perpendicular  position.  Again  a  song  was  sung,  as  at  the  four 
rafter-poles,  and  Hawkan  indicated  to  Nishnat^yana  where  the  bands 
should  be  painted,  whereupon  the  latter  indicated  with  his  pipe-stem, 
with  the  usual  ceremonial  passes,  while  his  wife  went  through  the  same 
performance  with  the  feathers  of  the  Wheel,  thus  marking  off  a  space 
about  eight  inches  in  width  on  the  tree.  Around  this,  Waatanakashi 
now  painted  a  solid  band  of  black.  Just  above  this,  Niwaat  painted  a 
band  of  equal  width  in  red,  Waatanakashi  then  guiding  the  hands  of 
Yahiise  (the  latter  being  blind)  over  the  paint — for  it  will  be  remem- 
bered that  Yahtise  had  obtained  this  privilege  by  a  rite  in  the  Rabbit- 
tipi.     (See  Plate  XXXV.) 

The  priests  then  stepped  over  to  the  west  a  few  paces,  where  they 
encountered  two  bundles  of  long  slender  willow  branches  which  had 


96         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

been  stripped  of  their  leaves,  except  at  the  tips.  Niwaat  then  daubed 
red  paint  here  and  there  over  the  bundle  on  the  west  side,  which  had 
been  so  placed  that  the  butts  of  the  limbs  were  directed  south. 
Waatanakashi  went  to  the  other  bundle,  which  had  its  butts  turned 
north,  and  daubed  it  with  black  paint.  The  two  bundles  were  then 
assembled  and  placed  in  the  fork  of  the  center-pole  so  that  they 
retained  their  relative  position,  the  black-painted  sticks  on  the  east 
side  with  their  butts  directed  north,  while  the  red-painted  bundle  was 
on  the  west  side,  with  its  butt  directed  south. 

The  digging-stick  was  now  brought  from  its  position  by  the  side 
of  the  skull  and  held  by  Hawkan  while  he  prayed.  Chief  Nawaht 
now  told  a  war  story,  whereupon  the  digging-stick  was  thrust  through 
the  willow  bundles  and  through  the  buffalo  robe. 

THE  OFFERINGS-LODGE  COMPLETED. 

Debithe  and  his  companions  were  still  standing  in  line,  and  now 
began  to  sing.  At  the  close  of  the  song  the  Lodge-Maker  yelled  in  a 
loud  voice,  the  Dog-soldiers  blew  upon  their  whistles,  and  they  all 
lifted  upon  the  pole.  They  did  this  twice  again,  and  on  the  fourth 
time,  the  pole  was  raised  into  an  upright  position,  and  one  end  was 
lowered  into  the  hole  which  had  been  prepared.  (See  Plate  XXXVL) 
The  dirt  was  then  tramped  around  the  center-pole  to  make  it  stable, 
and  the  younger  men  of  the  societies  now  completed  the  construction 
of  the  lodge  by  erecting  sixteen  smaller  forked  poles  in  the  form  of  a 
circle  and  distant  from  the  center-pole  about  thirty  feet. 

In  arranging  these  poles,  care  was  taken  that  two  poles  which 
had  been  painted  black  should  occupy  positions  in  the  southeast  and 
southwest,  while  two  which  had  been  painted  red  should  occupy  the 
northeast  and  northwest  corners  of  the  circle.  The  outer  upright 
poles  were  then  joined  by  means  of  cross-bars  resting  in  the  forks  and 
passing  from  one  pole  to  another.  They  then  lifted  into  place  long 
slender  poles  passing  from  the  fork  of  the  center-pole  to  the  tops  of 
the  poles  around  the  circle.  Then  cottonwood  boughs  were  stood 
upright  upon  the  ground,  leaning  on  the  cross-bars,  except  for  the 
space  between  two  of  the  poles  on  the  eastern  side  of  the  lodge,  which 
was  left  open  throughout  the  ceremony. 

While  the  lodge  was  in  its  final  stages  of  preparation,  Debithe 
took  the  Lodge-Maker  and  his  wife  to  his  lodge,  where  they  ate  and 
drank.  While  they  were  feasting,  H6cheni  made  a  circuit  of  the 
camp-circle  and  made  the  formal  announcement  that  the  lodge  was 
ready,  and  that  the  time  was  at  hand  for  the  beginning  of  the  dancing. 


PL.  XXXVl.    The  Fork  of  the  Center-pole.    Third  Day,  1901. 


Fig.  I.  Extending  through  the  bundle  of  willows  and  buffalo  robe  may  be 
seen  the  ceremonial  diggin^j-stick. 

Fig.  2.  Depending  from  the  buffalo  robe  may  be  seen  the  "moon"  shells 
and  eagle-tail  feathers. 


FIELD   COLUMBIAN    MUSEUM. 


ANTHROPOLOGY.   PL.   XXXVI. 


^ 

-»-J 

^^^^^-—-^^^^K^^^^^^^^^^^QhflM 

^^^^^m\^^W^K^^F 

!j|rJ|^ 

^^^^^^^^^^^^^Ri^^i, 

FIG.  2. 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  XXXVII. 


PL.  XXXVII.    Upper  Half  of  Center-pole,  Showing  Bands  of  Paint,  Bundle  of 
Willows,  Digging-Stick,  etc.    Fourth  Day,  1902. 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  XXXVIII. 


FIG.  1. 

^^^^^^K^mJ^ 

,^-^^ti^^^H 

-.       .-^jdC 

fii- 

Ar     .          ^.^^^KA^^^mmlt 

mtifimm^m'  ^t  ^    x   T^ 

kfc  ^iJpr* 

i 

Pl.  XXXVIII.    Completion  of  the  Offerings-lodge.    Fourth  Day,  1902. 


Fig.  I.     Line  of  Rabbit  priests  watching  the  raising  of  the  center-pole. 
Fig.  2.     Members  of  the  Star  society  raising  into  place  the  last  reach-pole. 


<fV. 


-^HM&Kiili 


» 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  97 

THE  OFFERINGS-LODGE  COMPLETED,  1902. 

After  the  painting  of  the  poles  and  the  addition  to  the  center-pole 
of  the  bundle,  robe,  and  digging-stick,  a  great  crowd  of  people  came 
forward  to  witness  the  raising  of  the  center-pole.  Groups  of  the 
members  of  the  warrior  societies  stood  about,  ready  to  assist  in  the 
operation.  Nishnat^yana  lifted  the  pipe  toward  the  west,  while  his 
wife  held  aloft  the  Wheel  upon  the  pole,  and  they  began  a  song.  At 
the  conclusion  of  the  song,  all  lifted  upon  the  pole.  Then  the  second 
song  was  sung,  and  again  the  warriors  lifted,  this  performance  being 
repeated  four  times.  At  the  conclusion  of  the  fourth  song,  with  a 
loud  shout,  the  great  tree  was  slowly,  but  surely,  lifted  in  an  upright 
position,  and  was  let  back  in  the  hole  which  had  been  prepared  for  it. 
(See  Plate  XXXVIL)  Then,  in  a  very  short  space  of  time,  with  much 
shouting,  yelling,  and  singing,  and  with  great  rivalry,  as  if  to  see 
which  should  be  first,  the  warrior  societies  lifted  up  the  four  painted 
and  the  other  rafter-poles  and  forced  them  in  position.  (See  Plate 
XXXVin.)  The  remaining  cross-bar,  on  the  western  side,  which  had 
been  left  out  until  the  erection  of  the  center-pole,  was  now  put  in 
place,  and  the  Offerings-lodge  was  completed. 

The  Wheel  was  carried  to  the  back  of  the  skull  and  placed  on  its 
support,  which  stood  just  in  front  of  the  skull,  while  the  pipe  was 
deposited  on  the  south  side  of  the  skull,  where  they  were  to  remain 
until  late  in  the  evening,  when  they  were  to  be  carried  inside  the  great 
lodge,  to  be  used  in  the  preparation  of  the  altar  on  the  following  day. 

It  was  now  about  seven  o'clock,  and  there  was  an  interval  of  per- 
haps an  hour,  during  which  time  the  priests  and  those  giving  the 
lodge  repaired  to  the  home  of  Niwaat,  the  Lodge-Maker,  where  the 
latter  and  his  associates  broke  their  three  days'  fast,  and  all  indulged 
in  a  bountiful  feast.  In  the  mean  time  the  throng  about  the  lodge 
had  not  diminished,  where  all  now  awaited  the  rite  of  "dancing  in." 

THE  OFFERINGS-LODGE   DEDICATED. 

Young  men  who  had  been  putting  on  their  costumes  in  their 
lodges  now  began  to  come  forth  to  the  Offerings-lodge,  where  they 
danced  and  sang.  While  the  singing  was  in  progress  there  was  an 
exchange  of  presents  among  the  friends.  On  the  conclusion  of  the 
fourth  song  those  dancing  ceased,  and  the  young  men  returned  home. 
Kana'thekahade  now  related  a  war  story,  and  a  fire  was  built  midway 
between  the  center-pole  and  the  outer  pole  to  the  north  of  the  east 
opening.  The  lodge  was  now  ready  for  the  appearance  of  those  who 
were  to  fast  and  dance  for  three  days.  « 


98         Field  Columbian  Museum — Anthropology,  Vol.  IV. 

THE  OFFERINGS-LODGE  DEDICATED,  1902. 

While  the  priests  aftd  those  who  had  begun  fasting  in  the  Offer- 
ings-lodge were  engaged  in  the  evening  meal,  occurred  the  ceremony 
known  as  "dancing  in,"  which  in  the  ceremony  of  this  year,  was 
performed  in  full. 

About  the  center-pole  of  the  lodge  were  gathered  the  chiefs  of  the 
Arapaho  tribe.  Around  the  sides  of  the  lodge  were  the  spectators, 
with  a  number  of  musicians  on  the  south  side.  Between  the  circle  of 
spectators  and  the  chiefs  about  the  center-pole  was  an  open  space 
which  was  to  be  occupied  by  the  dancers.  These  soon  came  in  and 
danced  at  intervals  for  about  two  hours.  There  was  manifested 
during  this  time  a  great  deal  of  hilarity  on  the  part  of  the  spectators. 

From  time  to  time  the  chiefs  about  the  center-pole  related  stories 
of  victories  in  war  in  former  days.  At  one  time,  after  a  conference, 
they  simulated  the  former  practice  of  choosing  chiefs,  it  being  sup- 
posed that  the  sham  battle  early  on  this  day  gave  the  chiefs  the 
opportunity  to  judge  of  the  abilities  and  bravery  of  the  warriors. 

After  this  rather  spectacular,  but  not  very  important,  performance 
had  continued  for  some  time,  this  crowd  gave  way  to  the  priests  and 
the  dancers  who  now  appeared,  and  who  were  to  occupy  the  lodge  for 
three  days  and  three  nights. 

THE  BEGINNING  OF  THE  DANCE. 

During  the  "dancing-in"  performance,  Debithe,  the  Lodge-Maker 
and  his  wife,  and  other  of  the  important  priests  had  partaken  of  food, 
and  had  returned  to  the  center  of  the  circle.  The  skull  and  other 
ceremonial  objects  were  now  brought  and  deposited  without  ceremony 
near  the  base  of  the  center-pole.  In  the  mean  time  the  Rabbit-tipi 
had  been  torn  down  by  its  owner  and  re-erected  in  its  proper  place  in 
the  camp-circle. 

The  nine  men,  who  in  addition  to  the  Lodge-Maker  were  to  fast 
and  go  through  the  ordeal  of  the  ceremony,  put  in  appearance  at  the 
lodge.  All  of  them  had  partaken  of  the  evening  meal  at  home  or  in 
the  lodge  of  their  friends,  and  all  had  painted  themselves  from  head 
to  foot  with  white  clay.  Each  one  was  provided  with  an  eagle-bone 
whistle  and  with  a  buckskin  kilt,  and  wore  an  eagle  breath-feather  in 
his  hair;  each  carried  in  his  hand,  as  he  approached  the  lodge,  a  pipe 
and  tobacco  bag. 

On  arriving  at  the  lodge  they  took  their  place  in  the  southwestern 
section,  where  each  filled  his  pipe  and  passed  it  to  H6cheni,  who 
lighted   it,  puffed  upon   it  a  fe%  times,  and   passed  it  among  the  men 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  99 

who  had  been  selected  by  those  who  were  to  fast,  as  their  grand- 
fathers, and  who  were  now  also  present.  After  the  smoking  had  con- 
tinued for  some  time,  Hawkan  told  the  dancers  to  get  ready.  They 
placed  the  buckskin  thong  of  the  bone  whistle  around  their  neck  and 
examined  the  whistle,  to  know  that  it  was  in  good  condition,  and  all 
now  rose  to  their  feet  and  stood  in  line  in  this  southeastern  section, 
facing  the  center-pole.  Debithe  arose  and  showed  them  how  to  hold 
the  whistle  and  the  movements  of  the  dance,  and  then,  with  a  bone 
whistle  in  his  mouth,  proceeded  to  a  spot  directly  under  the  southeast 
pole,  which  was  painted  black.      Hawkan  now  prayed : 

hawkan's  prayer. 

"Father,  Man- Above,  my  Mother,  Old- Woman-Night,  my  Grand- 
fathers, the  Four-Old-Men,  here  we  are,  ready.  May  you  listen  to 
our  wishes  for  this  people  here,  that  during  this  ceremony  they  may 
be  protected  day  and  night  from  danger  and  sickness!  My  Father, 
Man-Above,  you  have  so  made  the  sun  to  shine.  Old-Woman-Night, 
you  have  made  the  moon  to  shine.  You  have  told  us  how  to  go 
through  all  this  ceremony.  Four-Old-Men,  we  have  followed  your 
paths.  This  night,  whatever  we  may  do,  may  it  be  in  harmony  with 
you!  May  all  that  we  ask  in  our  secret  prayers  be  granted!  So 
be  it!" 

At  the  conclusion  of  the  prayer,  a  song  was  started  by  members 
of  the  Star  society,  who  were  seated  near  the  east  and  to  the  south  of 
the  east  opening  of  the  lodge,  during  which  Hawkan  kept  time  by 
shaking  a  rattle  in  his  right  hand,  while  Chanitoe,  who  was  seated  to 
the  west  of  the  center-pole,  beat  upon  the  Badger-pack.  As  they 
sang,  the  dancers,  led  by  Debithe,  looked  up  toward  the  pole  painted 
black,  raised  the  right  hand,  and  whistled  softly.  Then  they  pro- 
ceeded to  the  northeast  corner,  where  underneath  the  pole  with  the 
red  band  they  repeated  the  performance,  and  so  to  the  northwest 
pole,  and  then  to  the  southwest,  and  then  to  the  center-pole;  where- 
upon they  turned  to- their  position  in  the  southeast  corner  and  all  sat 
down. 

Thihauchhawkah  now  took  up  the  rawhide,  which,  as  has  been 
mentioned,  was  folded  in  the  form  of  a  parfleche,  and  laid  it  down  in 
front  of  Hawkan.  He  then  took  from  the  fire  a  live  coal,  which  he 
also  placed  in  front  of  Hawkan.  Spruce-leaves  were  then  passed  upon 
the  coal,  and  Thihauchhawkan  took  up  the  rawhide,  made  four  passes 
toward  the  rising  incense,  and  then  passed  the  parfleche  over  the  coals 
in  a  slow  and  careful  manner.  He  then  carried  the  rawhide  to  the 
southeast,  where   he  again  motioned   it  now  toward  and  among  the 


loo       Field  Columbian  Museum — Anthropology,  Vol,  IV. 

drummers  four  times,  whereupon  he  tossed  it  in  among  them,  when 
they  beat  upon  it  violently  with  sticks.  The  singers,  having  been 
joined  by  a  large  number  of  men,  now  surrounded  the  drum  and  began 
to  sing.  This  continued  for  a  short  time,  whereupon  the  crowd  dis- 
persed for  the  night.  This  time  marks  the  beginning  of  the  second 
period  of  fasting  for  the  Lodge-Maker  and  his  wife  and  the  three 
days*  period  for  the  nine  men  who  now  take  an  active  part  in  the 
ceremony. 

THE  BEGINNING  OF   THE  DANCE,  1902. 

On  arriving  at  the  center  of  the  circle,  at  about  eleven  o'clock  in 
the  evening,  the  priests  at  once  carried  into  the  lodge  the  buffalo  skull 
and  other  sacred  paraphernalia  which  had  been  lying  outside  and  west 
of  the  lodge  since  the  abandonment  of  the  Rabbit-tipi.  This  was 
placed  on  the  ground  about  half-way  between  the  western  wall  of  the 
lodge  and  the  center-pole.  Back  of  them,  and  extending  nearly  half- 
way around  the  western  half  of  the  lodge,  were  the  men  who  were  now 
to  begin  to  fast.  In  the  southeast  corner  of  the  lodge  was  a  large 
drum,  and  about  it  was  a  number  of  the  members  of  the  Dog-soldier 
society.  Half-way  between  the  center-pole  and  the  eastern  opening 
of  the  lodge  the  fire  was  kindled.  At  the  base  of  the  center-pole  and 
leaning  against  it  was  the  digging-stick  to  be  used  on  the  following 
day  for  the  sods,  the  cedar  tree,  and  the  bales  of  blankets  and  other 
goods  belonging  to  the  Lodge-Maker,  which  since  they  had  come  into 
his  possession  had  been  kept  near  the  Rabbit-tipi  during  the  day- 
time, and  inside  the  Rabbit-tipi  at  night. 

THE  RAWHIDE  INCENSED. 

Immediately  after  the  building  of  a  fire,  a  war  story  was  told  by 
one  of  the  chiefs.  Then  Niwaat  sat  down  in  front  of  the  buffalo  skull, 
while  in  a  semicircular  line  around  the  skull,  were  Nden,  Waatanakashi, 
Yahiise,  Watangaa,  Nishchanakati,  Hocheni,  Hawkan,  Watanah, 
Chanitoe,  Debithe,  Nishnat^yana,  Baihoh,  and  other  minor  priests. 
Niwaat  held  in  his  hands  the  straight-pipe.  A  live  coal  was  placed  in 
front  of  Niwaat.  One  of  the  priests  gave  to  Niwaat  a  pinch  of  cedar- 
leaves.     All  being  ready,  Hdwkan  prayed. 

No  sooner  had  he  closed  his  prayer  than  a  large  crowd  of  people 
suddenly  appeared  and  gathered  just  on  the  outside  of  the  lodge.  It 
was  now  midnight.  Hdwkan  began  shaking  the  rattle,  while  Wdtanah 
began  beating  the  Badger-pack  with  the  pipe-stem.  Again  the  sacred 
song  was  sung  to  the  accompaniment  of  the  beating  of  time  on  the 
part  of  these  two  priests,  while  Niwaat,  holding  the  incense  between 


May,  1903.  The  Arapaho  Sun  Dance — Dorsey.  ioi 

the  thumb  and  forefinger  of  his  right  hand,  placed  his  right  elbow 
upon  his  knee  and  slowly  moved  his  hand  out  and  back  in  front  of  his 
face.  During  the  second  song,  a  similar  movement  was  repeated  on 
the  part  of  the  three.  At  the  beginning  of  the  third  song,  Niwaat's 
hand  was  moved  over  to  the  left  side,  where  it  was  again  waved  back 
and  forth  in  front  of  him  to  the  accompaniment  of  the  song.  The 
same  movement  was  continued  through  the  fourth  song.  During  the 
fifth  song  the  same  movement  was  kept  up,  but  he  shifted  his  hand 
so  that  it  was  now  in  front  of  his  face.  At  the  end  of  this  song  he 
placed'the  leaves  upon  the  coal,  took  up  the  rawhide,  and  in  a  stoop- 
,ing  position,  passed  it  slowly  over  the  rising  incense.  Carrying  the 
rawhide  in  this  position,  he  proceeded  around  the  lodge  in  a  sunwise 
circuit,  halting  as  he  stood  under  the  northwest  painted  pole,  when  he 
continued  on  to  the  northeast  pole,  where  he  halted;  then  continued 
again  to  the  painted  pole  on  the  southeast,  and  again  halted ;  and  on 
to  the  southwest.  He  then  went  back  toward  the  southeast,  in  the 
direction  of  the  drummers,  toward  whom  he  motioned  with  the  raw- 
hide four  times,  and  cast  it  in  among  them  on  the  fifth,  whereupon 
they  beat  upon  it  rapidly  with  drumsticks.  He  then  returned  to  his 
position  by  the  side  of  the  skull,  this  time,  however,  making  a  sinistral 
circuit. 

THE  OFFERING  OF  THE  LODGE-MAKER'S  WIFE. 

A  live  coal  was  now  brought  in  front  of  Hawkan,  who  made  the 
four  ceremonial  passes  around  it,  beginning  at  the  southeast,  the  fifth 
direction  from  the  above,  and  placed  the  incense  upon  the  coal. 

There  now  followed  the  ceremony  of  offering  the  body  of  the  wife 
of  Waatanakashi  by  Nishnat^yana,  to  the  Moon.  This  performance 
was  practically  the  same  as  that  which  took  place  on  the  second  night 
of  the  Rabbit-tipi,  and  which  is  described  in  a  later  section  of  this 
paper.  An  outline  of  what  occurred  may  not  be  out  of  place  at  this 
point,  in  order  that  the  account  of  the  performance  on  this  night  may 
be  more  complete:  One  of  the  Dog-soldiers  placed  a  coal  under  the 
black-painted  pole  in  the  northwest  corner  of  the  lodge,  which  was  to 
be  used  in  connection  with  the  rite  of  making  the  footprint.  The 
pipe  was  given  to  Nishnat^yana  by  Waatanakashi,  the  latter  returning 
to  his  seat.  Nden  arose  from  her  position  in  the  line  and  stood  behind 
Nishnateyana.  Hawkan  began  shaking  the  rattle,  while  Watanah  beat 
the  Badger-pack.  At  the  seventh  beat  the  priests  began  singing.  At 
the  fourth  song  Nishnateyana,  followed  by  the  wife  of  Waatanakashi, 
both  of  them  being  enveloped  in  buffalo  robes,  arose  and  left  the  lodge, 
passing  over  the  rising  incense  in  the  northeast  corner  of  the  lodge. 


I02       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

On  their  return,  after  an  absence  of  a  few  minutes,  Nishnat^yana 
kissed  the  Wheel,  then  sat  down  in  his  proper  place  in  the  circle.  The 
pipes  were  now  lighted  and  made  the  ceremonial  circuit  of  the  priests 
four  times.  At  the  conclusion  of  the  rite  of  smoking,  the  dancers 
went  to  their  grandfathers,  who  had  already  entered  the  lodge,  and 
took  up  their  position  in  front  of  the  (jlancers.  Each  of  the  dancers 
placed  his  hands  on  his  grandfather  and  prayed.  The  fire  was  now 
replenished,  while  two  of  the  Dog-soldiers  danced  for  joy,  and  then 
told  their  stories. 

DANCING  TO  THE  FOUR-OLD-MEN. 

It  was  now  one  o'clock  in  the  morning.  The  dancers  arose,  put 
on  their  kilts,  fastened  a  breath  feather  to  their  scalp-locks,  then  took 
up  their  eagle-bone  whistles.  Nishnat^yana  put  on  a  rabbit  robe,  the 
hair  side  out,  and  Hawkan  told  him  how  to  direct  the  movement. 
Nishnat^yana  leading  the  way,  all  the  dancers,  numbering  twenty- 
four,  with  Niwaat  and  Wdtanah  next  to  Nishnat^yana,  passed  now  to 
the  southeast  side  of  the  lodge,  where  they  got  in  an  east  and  west 
line  facing  the  south.  Hawkan  began  again  to  shake  the  rattle,  while 
Chanitoe  beat  on  the  Badger-pack.  Then  the  other  priests' began 
singing,  and  the  dancers  lifted  up  their  hands  toward  the  painted 
rafter  above  them  and  blew  upon  a  bone  whistle,  the  whistling  being 
long  drawn  out,  each  time,  with  an  equally  long  interval  of  silence. 
At  the  end  of  the  second  song  the  line  of  dancers  moved  back  a  few 
steps  and  directed  their  left  hands  out  in  front  of  them.  Now  they 
moved  around  beneath  the  painted  pole  on  the  northeast  corner,  where 
they  went  through  the  same  performance.  At  the  third  song  they 
faced  toward  the  east,  with  their  hands  directed  downward,  and  out  in 
front  of  them  in  a  sloping  direction  toward  the  fireplace.  They 
whistled  as  before.  At  the  fourth  song  they  faced^west,  directing 
both  of  their  arms  in  front  of  them  and  slightly  downward.  At  the 
fifth  song  they  moved  to  the  west  of  the  center-pole  and  formed  two 
crescent-shaped  lines,  facing  the  skull  and  directing  their  hands 
toward  the  skull,  moving  them  up  and  down  to  the  accompaniment 
of  the  song  and  the  whistling.  At  the  end  of  the  seventh  song  they 
shook  their  skirts  as  though  they  were  attempting  to  remove  some- 
thing. It  was  now  noticed  that  Nishnatdyana  had  failed  to  notify  the 
dancers  to  wear  their  robes  during  this  rite,  and  as  a  matter  of  fact, 
at  this  point  they  should  have  shaken  their  robes  instead  of  their  kilts, 
in  this  purification  rite.  The  dancers  then  returned  to  their  positions 
around  the  lodge. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  103 

THE  RAWHIDE  INCENSED. 

The  female  relatives  of  the  dancers  now  came  up  to  them,  each 
one  addressing  to  the  dancer  words  of  encouragement.  Waatanakashi 
went  to  the  fireplace,  got  a  live  coal,  which  he  placed  in  front  of 
Hawkan,  and  placed  by  the  side  of  it  the  rawhide,  which  he  brought 
from  near  the  center-pole,  where  it  had  been  lying  since  it  was  used 
by  the  Dog-soldiers.  Waatanakashi  was  now  given  spruce  leaves,  and 
sat  down  in  front  of  Watanah.  Again  Hawkan  rattled,  Chanitoe  beat 
on  the  Badger-pack,  and  the  first  song  was  begun,  Watanah,  as  before, 
waving  the  incense  twice  on  his  right  side,  twice  on  his  left,  and  once 
in  front  of  him,  placing  spruce  leaves  upon  the  coal  at  the  termina- 
tion of  the  fifth  song.  He  again  passed  the  rawhide  slowly  over  the 
incense,  carried  it  in  a  sunwise  circuit  to  the  musicians,  made  four 
passes  with  it  toward  them,  and  with  the  fifth,  threw  it  among  them, 
when  they  beat  upon  it.  Hawkan  now  began  one  of  the  regular  Sun 
Dance  songs,  which  was  then  taken  up  by  other  priests  and  the  musicians 
about  the  drum.  The  dancers  slowly  assumed  a  standing  position  and 
began  the  regular  whistling  and  dancing  characteristic  of  the  Sun 
Dance.  The  priests  then,  one  by  one,  returned  to  their  homes,  while  the 
musicians  were  supplanted  by  others,  and  the  singing  and  dancing  was 
kept  up  at  intervals  throughout  the  few  remaining  hours  of  the  night. 

FOURTH   DAY,  1901;    FIFTH   DAY,  1902. 

This  corresponds  exactly  to  the  fifth  day  of  the  celebration  of 
1902.  The  great  lodge  has  been  completed  and  dedicated  with  appro- 
priate rites.  No  further  preliminary  work  of  preparation  remains 
except  the  erection  of  the  altar,  a  task  involving  much  time  and  labor 
on  the  part  of  the  priests  and  attended  with  many  interesting  rites. 
The  day  is  also  notable  from  the  fact  that  after  the  altar  has  been 
completed  the  dancers  are  to  be  publicly  painted  with  the  brilliantly 
colored  symbolic  designs  which  are  worn  only  during  this  and  the 
following  days  of  the  Sun  Dance. 

THE  SUNRISE  DANCE. 

Just  before  sunrise,  the  dancers  formed  in,  line,  facing  toward  the 
center  of  the  lodge,  when,  upon  the  beginning  of  the  singing  and  beat- 
ing of  the  drum  they  faced  east  and  whistled  and  danced  to  the  accom- 
paniment of  the  singing,  until  the  sun  appeared  above  the  horizon. 
At  the  conclusion  of  the  song  they  smoked  and  rested  until  the  com- 
pletion of  the  altar. 


I04       Field  Columbian  Museum — Anthropology,  Vol.  IV.. 

ASSEMBLING  MATERIAL  FOR   THE   ALTAR. 

Much  work  has  already  been  done  toward  the  building  of  this 
sacred  shrine  which,  it  may  be  here  stated,  is  more  elaborate  in  the 
Arapaho  ceremony  than  in  any  of  the  other  Sun  Dances  the  author  has 
witnessed. 

About  to  form  part  of  the  altar,  and  already  present  within  the 
Offerings-lodge  are  several  objects,  already  referred  to,  which  have 
been  prepared  within  the  sacred  Rabbit-tipi ;  such  are  the  skull. 
Wheel,  Badger-pack,  and  the  digging-stick.  (See  Plate  XXXIX.)  It 
is  now  necessary  to  secure  timbers  of  various  sorts  and  two  pieces  of 
sod.  Of  these  additional  accessories  required  for  the  altar  the  sods 
are  perhaps  the  most  important,  and  only  with  the  securing  of  them 
are  there  any  rites  this  day  outside  the  Offerings-lodge. 

Several  of  the  more  important  participants  of  the  ceremony, 
including  Waakatdni,  Sosoni,  Chedthea,  the  Lodge-Maker,  Waanibe, 
Debithe,  and  some  of  the  dancers,  about  eight  o'clock,  assembled  at 
the  lodge  and  left  in  single  file  toward  the  southeast,  their  object  being 
to  secure  the  two  pieces  of  sod,  which  were  to  be  used  in  the  construc- 
tion of  the  altar.  Their  line  of  march  was  single  file,  "like  geese." 
When  they  had  reached  the  field  where  good  sod  was  to  be  found  they 
halted.  Chedthea  offered  a  prayer,  whereupon  Sosoni  and  Waanibe 
took  a  knife  and  cut  out  two  circular  pieces  of  sod,  one  about  four- 
teen and  the  other  about  sixteen  inches  in  diameter. 

The  two  sods  were  placed  on  a  blanket,  which  was  carried  by  four 
young  men,  and  they  all  started  back  for  the  lodge  again,  going  in 
single  file,  and  making  a  circular  motion,  in  imitation  of  geese.  This 
motion  was  especially  intended  to  represent  the  different  motions  made 
by  geese  as  they  fly  high  in  the  summer  and  winter  flight,  for  as  they 
travel  a  long  distance,  so  do  the  Arapaho,  for  the  earth  is  wide ;  while 
the  bird  represented  was  that  goose  which  has  a  pure  white  body 
except  for  a  little  spot  on  its  back,  which  spot  somewhat  resembles  a 
bird ;  hence  the  Arapaho  say  that  this  goose  carries  a  bird  on  its  back. 

The  line  having  reached  the  lodge,  they  circled  about  it  twice 
and  entered  by  the  opening  on  the  east.  The  dancers  who  accom- 
panied the  priests  now  resumed  their  seats  on  the  southeast  side  of 
the  lodge,  while  the  others,  except  the  four  men  who  carried  the  sod, 
sat  down  here  and  there  in  the  lodge. 

PREPARING  THE  SODS. 

Hdwkan  uttered  a  long  prayer,  during  which  time  the  greatest 
silence  prevailed.     Debithe  took  to  the  fireplace  a  straight  black  pipe — 


PL.  XXXIX.    The  Temporary  Altar  in  the  Offerings-lodge.    Fifth  Day,  1902. 


The  skull,  Wheel,  straight-pipe,  rattle,  Badger-pack  and  paint  bags,  as  they 
are  placed  in  the  Offerings-lodge  on  the  preceding  night,  where  they  were  to 
remain  until  the  erection  of  the  permanent  altar. 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  XL. 


FIG.  1. 


FIG.  2. 


Pl.  XL.    Preliminary  Rites  before  Cutting  the  Sods.    Fifth  Day,  1902. 

Fig.  I.     Priests  surrounding  the  site  of  the  sods,  while  Hocheni  prepares  the 
ground,  that  the  women  may  cut  the  sods. 

Fig.  2.     Hocheni  directing  the  cutting  of  the  sod. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  105 

the  stem  of  which  had  been  used  for  marking  the  location  of  the  bands 
on  the  four  roof-poles  of  the  lodge,  on  the  center-pole,  for  the  exca- 
vation, as  well  as  for  similar  performances  throughout  the  ceremony — 
lighted  it,  and  took  it  to  Hawkan,  who  passed  it  to  Waakat'ani.  The 
priests  sat  down  in  a  semicircular  position  about  the  two  pieces  of 
sod.  At  the  right  end  of  the  line  was  Hawkan,  with  Debithe  on  his 
left,  then  Chanitoe  and  Hocheni,  while  at  the  end  of  the  line  sat 
Waakat'ani.  The  pipe  was  passed  along  the  line,  each  smoking  a  few 
whiffs  and  offering  the  smoke  to  the  above  and  below.  Hocheni  took 
the  pipe-stem,  and  standing  over  the  sod,  made  four  passes  over  them, 
spat  upon  the  sod,  first  on  the  sides  and  then  upon  the  top. 

Watdngaa  re-entered  the  lodge,  and  going  over  by  the  drum, 
where  Cheathea  sat,  he  uttered  a  prayer,  which  he  repeated  after  he 
had  stepped  up  by  the  side  of  Hawkan.  It  will  be  remembered  that 
Watangaa  was  a  pupil  during  this  ceremony,  and  his  two  prayers  were 
in  the  nature  of  a  supplication  that  he  might  not  fail  or  make  a  mis- 
take in  what  he  should  be  required  to  do  during  the  day.  He  sat 
down  in  front  of  Hocheni,  holding  out  his  two  hands.  The  latter 
touched  his  finger  to  the  ground,  then  to  his  tongue,  took  a  bite  of 
root,  motioned,  and  spat  in  Watangaa's  hands  five  times,  at  the  same 
time  giving  him  words  of  advice. 

THE  SODS  BROUGHT  TO  THE  OFFERINGS-LODGE,  1902. 

The  journey  for  the  sods  in  1902  was  begun  about  nine  o'clock  in 
the  morning.  Just  after  leaving  the  Offerings-lodge,  the  priests 
turned  toward  the  north  with  Hdwkan,  Watangaa,  Watanah,  Nishna- 
t^yana,  Chanitoe,  Nakaash,  and  Niwaat,  the  latter  wearing  his  buffalo 
robe.  Then  came  in  single  file  Thiyeh  bearing  an  axe,  Waanibe 
carrying  an  iron  bar,  His^nibe  carrying  the  digging-stick,  Nden  bear- 
ing a -shovel,  and  Cheathea  Next  in  line  was  Waatanakashi,  followed 
by  ten  of  the  dancers.  Continuing  toward  the  north  they  soon  passed 
outside  the  camp-circle,  where  they  halted  at  the  foot  of  the  hill 
where  sod  of  a  suitable  nature  was  to  be  found. 

Around  a  particular  spot,  which  had  been  previously  chosen,  they 
all  formed  in  one  large  semicircular  line,  the  opening  being  to  the 
south.  (See  Fig.  i,  Plate  XL.)  Hocheni  touched  the  first  finger  of 
his  right  hand  to  the  ground,  then  to  his  tongue,  took  a  bite  of  root, 
then  spat  in  his  hands  five  times.  The  root  was  then  passed  to  all  the 
other  members  of  the  circle,  who  went  through  a  similar  performance. 
Chedthea  prayed.     All  now  arose,  while  Hawkan  prayed: 


io6       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

hawkan's  prayer. 

"Here  I  am  again  with  your  people  this  day.  Your  lodge  is  up 
and  it  is  in  order;  may  we  therefore  pray  aright  at  your  sacred  altar, 
because  your  people  in  years  past  have  done  this.  It  is  your  word 
that  this  be  a  reminder  of  the  first  man,  and  we  ask  you  to  teach  us 
the  right  way  and  guide  us  through  this  whole  ceremony  to  the  last. 

"My  Grandfather,  Light-of-the-Earth,  look  down  on  us,  poor  in 
spirit  and  thought!  Help  us  to  do  these  things  aright,  and  let  this 
people,  with  me,  bow  before  you  and  our  Gods  in  holy  thoughts,  that 
we  may  receive  blessings  for  our  kindred  (the  sods),  and  for  our  visi- 
tors! We  have  searched  for  the  best  ground,  and  now  one  of  your' 
servants  will  cut  the  two  sods  for  us  all,  just  as  your  children  did  in 
past  years;  let  it  now  seem  good  to  you! 

"We  ask  you,  Old-Woman-Night,  to  help  us  and  make  this  time 
good.  We  request  for  our  children  your  protection  at  night,  during 
our  rest.  Let  your  light  shine  brightly  upon  us,  and  whatever  you 
control  in  the  sky,  may  it  be  a  help  during  this  ceremony!  May  there 
be  peace  at  night  and  continual  praise  and  good  prayers! 

"Listen  to  me,  please,  Four-Old-Men!  You  are  the  people  to 
whom  we  look  for  daily  protection  and  seek  for  good  breath  of  life. 
We  ask  of  you  to  be  near  to  us  upon  this  occasion.  Oh,  give  us 
gentle  breezes  and  cleanse  us  from  impurities!  We  are  obliged  to  call 
upon  you  for  help,  in  order  that  we  may  obtain  good  paint  and  stand 
by  your  teaching.  If  we  shall  make  any  mistake,  have  pity  upon  us, 
for  we  are  yet  children!  May  our  road  be  straight,  and  give  us  peace 
of  mind!  Please  help  me,  for  the  burden  is  heavy !  Make  it  light,  and 
cause  the  people  to  rejoice  with  thanksgiving!  If  there  is  any  evil  in 
the  camp,  take  it  away  from  the  sick  one!  Have  mercy  upon  us,  you 
Four-Old-Men !  Be  good  to  us  and  put  our  steps  on  good,  hard 
ground,  toward  the  level  road,  a  road  that  is  not  soft!  Let  us  follow  your 
ways,  for  we  want  to  be  old!  Protect  this  sacred  ceremony,  and  cause 
these  children  to  remember  the  routine  work  of  the  lodge ! 

"Please  give  your  ears,  our  Mother,  Morning-Star!  Look  upon 
your  servants  who  will  cut  the  sods,  and  guide  them  straight!  We 
have  with  us  your  servant,  the  Peace-Keeper.  Give  her  steady 
thought,  so  that  we  may  do  things  pleasing  to  you  and  our  Gods! 
May  we  arrive  safely  with  your  sods,  and  may  they  be  cleansing  power 
upon  the  tribe! 

"Our  Father,  your  birds,  which  we  imitate,  are  white  and  have 
power  for  long  flight,  and  drink  the  sweet-water  (snow) ;  may  we 
accordingly!     We  ask  these  things  with  pure  hearts."  " 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  XLI. 


PL.  XLI.    Cutting  the  Sods.    Fifth  Day,  1902. 


Fig.  I.     Thi'yeh  and  Wadnibe  cutting  the  first  sod. 

Fig.  2.     Hocheni,  using  the  pipe-stem,  in  order  that  the  women'may'use  the 
digging-stick  to  loosen  the  sods. 


^,1- 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  XLII. 


Pl.  XLII.    Taking  the  Sod  from  the  Ground.    Fifth  Day,  1902. 


Thi'yeh  and  other  women,  lifting  the  sod  from  the  earth. 

Fig.  2.     Priests  bathing  their  hands  in  the  earth,  after  the  removal  of  the  sods. 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  XLIII. 


FIG.  2. 


PL.  XLIII.    Carrying  the  Sods  back  to  the  Offerings-lodge.    Fifth  Day,  1902. 

Fig.  I.     Rabbit-tipi  priests  and  women,  led  by  Hocheni  in  front  of  the  line. 
Fig.  2.    Assistant  priests  and  dancers  carrying  the  sod. 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  XLIV. 


PL  XLIV     Evolutions  Performed  during  the  Transfer  of  the  Sods  to  the 
Offerings-lodge.    Fifth  Day,  1902. 


Fig.  I.     First  movement,  circling  to  the  right. 
Fig.  2.    The  circle  completed. 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  XLV. 


Pl.  XLV.    The  Fourth  Evolution  in  Transferring  the  Sods  to  the  Offerings- 
place.    Fifth  Day,  1902. 


Fig.  I.     Beginning  to  circle  to  the  right. 

Fig.  2.    Completion  of  the  movement,  the  assistants  bearing  the  sods  enter- 
ing the  Offerings-lodge  in  advance  of  the  priests. 


^ 


Pl.  XLVI.    Removing  the  Sods  from  the  Blanket  inside  the  Offerings-lodge. 

Fifth  Day,  1902. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  107 

At  the  conclusion  of  the  prayer  the  ends  of  the  line  closed 
together,  thus  forming  a  circle,  and  in  this  fashion  they  passed  around 
the  spot  where  the  sods  were  about  to  be  cut,  four  times,  all  making 
occasionally  a  peculiar  noise  with  the  lips,  representing  a  noise  made 
by  the  brant. 

Again  they  sat  down  in  a  semicircle  with  the  opening  to  the 
south.  (See  Fig.  2,  Plate  XL.)  Hawkan  gave  instructions  as  to  how 
the  sod  should  be  prepared  for  cutting,  whereupon  Hocheni,  with  the 
pipe-stem,  made  the  five  ceremonial  motions  toward  the  sod  about  to 
be  cut,  ejecting  spittle  at  the  same  time,  while  the  women  bearing  the 
digging-stick,  the  shovel,  and  the  bar,  pointed  simultaneously  in  the 
direction  indicated  by  Hocheni  with  the  pipe-stem.  Then  Hocheni 
rubbed  the  stem  over  the  ground,  covering  a  space  about  a  foot  and 
a  half  in  diameter.  The  second  space,*  similar  in  size,  was  indicated 
in  the  same  manner. 

Thiyeh,  with  Waanibe,  removed  the  grass  from  around  the  first 
space  just  indicated,  whereupon  all  of  the  women  now  worked  together 
in  loosening  a  piece  of  sod  about  sixteen  inches  in  diameter  and  about 
six  inches  deep.  (See  Fig.  i,  Plate  XLI.)  After  it  had  been  loosened 
on  all  sides,  Hocheni  went  around  the  sod,  and  with  his  pipe-stem, 
simulated  a  prying  motion.  (See  Fig.  2,  Plate  XLI.)  The  crowbar 
and  digging-stick  were  used  to  lift  the  sod,  whereupon  all  surrounded 
it  and  lifted  it  up  and  placed  it  on  the  blanket  which  had  been  spread 
on  the  ground  near  by.  (See  Figs,  i  and  2,  Plate  XLIL)  As  the  sod 
was  being  transferred,  the  women  all  made  a  peculiar  noise  with  their 
mouths.  The  women  returned  to  the  hole  and  rubbed  their  hands 
against  its  sides  and  bottom  and  on  the  grass  surrounding  the  hole. 
The  second  piece  of  sod,  of  similar  shape  and  of  equal  size,  was  cut, 
with  the  same  rites,  and  was  placed  on  top  of  the  other  sod,  on  the 
blanket. 

In  the  procession  back  to  the  lodge,  Hocheni  led  the  way,  fol- 
lowed by  Hawkan,  the  five  women,  Watanah,  Chanitoe,  Nakaash,  and 
Waatanakashi.  (See  Fig.  i,  Plate  XLIII.)  At  four  different  times 
on  the  way  back  to  the  lodge,  the  line,  beginning  with  Hocheni,  was 
diverted  from  its  direct  course,  off  to  the  right,  and  circled  back  upon 
itself  twice.  (See  Figs,  i  and  2,  Plate  XLIV.)  As  they  performed 
these  circling  evolutions  they  made  the  same  noise  with  the  lips  which 
they  made  as  they  circled  around  the  sods  before  they  had  been  cut. 
The  fourth  movement  was  made  just  in  front  of  the  lodge  (see  Figs. 
I  and  2,  Plate  XLV.),  after  which,  they  entered,  went  through  this 
movement,  and  deposited  the  blanket  with  the  sods  south  of  the  skull 
and  wiest  of  the  center-pole.      (See    Plate   XL VI.)     The    priests  sat 


io8       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

down  in  the  southeast  portion  of  the  lodge,  where  the  pipe  was  cere- 
monially smoked  by  the  priests  four  times. 

Regarding  the  preparation  of  the  sods  and  their  final  disposition, 
the  same  course  was  followed  in  the  1902  performance  as  on  the  previ- 
ous year.  After  Hocheni  had  gone  through  the  usual  movement  with 
the  pipe-stem  over  them,  Watdngaa  and  his  wife  trimmed  them  up 
and  placed  them  in  position.  (See  Plates  XLIV.,  XLV.,  and  XLVII.) 
After  Watangaa  had  decorticated  a  few  of  the  dogwood  sticks,  to  be 
mentioned  presently,  he  took  up  a  large  knife  and  began  trimming  up 
the  edges  of  the  sods,  making  them  more  nearly  circular  and  in  the 
shape  of  inverted  cones. 

TIMBERS  FOR  THE  ALTAR. 

During  this  time,  Biba  and  her  grandmother  sat  near  the  extreme 
western  end  of  the  lodge,  having  the  buffalo  skull  and  other  parapher- 
nalia, which  had  been  brought  in  on  the  previous  night,  between  them 
and  the  center-post.  While  the  priests  were  absent,  members  of  the 
Star  society  had  secured  a  small  cedar,  a  small  willow,  and  five  small 
Cottonwood  trees,  which  had  been  brought  to  the  lodge.  They  also 
brought  in  a  large  number  of  rabbit  bushes  and  several  small  branches 
of  dogwood,  which  Waakat'ani  soon  began  decorticating. 

Waanibe  and  Sosoni,  both  pupils,  now  entered,  leading  ponies  and 
carrying  calico,  presents  from  them  to  Hdwkan  and  Chaui,  for  their 
instruction. 

After  the  ponies  had  been  removed,  the  two  women  began  to 
sharpen  the  bases  of  the  cottonwood  limbs.  After  this  was  done, 
Waanibe  sharpened  the  base  of  the  little  cedar  tree,  while  Sosoni 
sharpened  the  base  of  the  willow.  Chaiii  and  Sdsoni  brought  in  two 
cottonwood  billets,  about  four  feet  long.  Wadnibe  then  took  up  the 
two  cottonwood  billets  from  the  base  of  the  center-pole,  where  they 
had  been  placed,  and  carried  them  over  near  Hdcheni.  The  latter 
arose,  and  placing  the  pipe-stem  in  her  hands,  guided  the  stem  five 
times  in  the  direction  of  the  billets  and  then  over  them  and  at  the 
ends.  He  uttered  a  prayer,  returned  to  his  position  in  the  semi- 
circular line,  while  Wadnibe  began  decorticating  the  two  billets.  (See 
Plate  L.) 

Chaui  and  several  members  of  Thihduchhdwkan's  society  came  in 
and  sat  down  on  the  north  side  of  the  lodge  near  the  opening.  The 
rabbit  bushes  were  divided  up  among  the  older  men,  sitting  in  a  semi- 
circle; each  one  occupied  himself  for  a  while  in  bringing  the  base  of 
each  bush  to  a  point.     (See  Plate  LI.) 


PL.  XLVII.    HocHENi  Touching  the  Sods  with  the  Pipe-stem,  Preparatory  to 
Their  Being  Trimmed.    Fifth  Day,  1902. 


PL.  XLVIII.    Watangaa  and  Wife,  Trimming  the  Sods.    Fifth  Day,  1902. 


In  a  semicircular  line  behind  them,  the  Rabbit-tipi  priests. 


PL.  XLIX.    Wat/Cngaa  and  Wife,  Transferring  the  Earth   Cut  from  the  Sods  to 
A  Blanket.    Fifth  Day,  1902. 


PL.  L.    Thiyeh  Preparing  one  of  the  two   Billets  to  form  the  Ceremonial   Bed 
OF  THE  Altar.    Fifth  Day,  1902. 


Pl.  LI.    Rabbit-tipi  Priests  Dividing  the  Rabbit  Bushes  that  They  may  be  Pre- 
pared FOR  Insertion  into  the  Sods.    Fifth  Day,  1902. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  109 

THE  ERECTION  OF  THE  ALTAR. 

When  all  preparations  had  been  made,  Hdwkan  arose  and  invoked 
a  blessing  upon  the  buffalo  skull  and  other  objects  west  of  the  center- 
pole,  whereupon  Debithe  arose  and  removed  them  all  to  a  position  just 
at  the  base  of  the  pole. 

THE  "DITCH"  MADE. 

Hdwkan  now  took  a  stand  in  a  position  where  the  skull  had  been 
lying,  looked  up  toward  the  pile,  prayed,  then  touched  his  forehead 
and  pointed  toward  the  ground.  Hawkan  instructed  Watangaa  how 
to  pick  up  the  two  cottonwood  billets,  whereupon  the  latter  placed  one 
of  them  on  the  south  and  one  on  the  north  of  Debithe.  Hawkan 
stooped  over  them,  spat  upon  each  one  five  times,  and  passed  the  pipe- 
stem  along  each  billet. 

Watangaa  in  the  mean  time  knelt  down  in  front  of  the  two  billets, 
gently  removed  the  grass  from  the  end  of  each  one  of  them,  forming 
a  place  for  them  to  lie.  The  object  of  this  performance  was  to  esti- 
mate the  required  length  of  these  two  billets,  for  they  were  to  form 
the  outer  boundary  of  a  small  rectangular  excavation  which  was  soon 
to  be  made  on  the  ground,  where  Debithe  stood,  which  space  was  to 
be  occupied  by  the  Lodge-Maker  during  the  ceremony. 

The  two  billets  were  now  taken  up  again  and  carried  to  the  place 
where  the  old  men  had  been  working.  Debithe  stepped  forward  from 
the  place  which  he  had  been  occupying,  turned,  and  knelt  in  front  of 
it,  and  with  his  fingers  indicated  on  the  ground  where  the  excavation 
was  to  be  made,  whereupon  Waanibe  and  Sosoni,  with  axes,  began  to 
cut  out  the  sod,  forming  a  rectangular  excavation  about  twelve  inches 
wide  and  eighteen  inches  long,  east  and  west,  and  about  three  inches 
deep. 

THE  "DITCH"  PAINTED. 

Watangaa  took  a  sack  of  black  paint,  mixed  it  with  water,  and 
painted  one  of  the  decorticated  billets,  while  his  wife  painted  the  other 
one  red.  He  then  besmeared  with  black  paint  the  bodies  of  the  two 
cottonwood  boughs,  and  the  willow  and  cedar  trees.  The  women 
having  loosened  the  earth  so  that  it  was  now  ready  to  be  taken  out, 
Hawkan  went  over  to  that  point  and  made  the  usual  five  passes  with 
the  pipe-stem,  whereupon  the  earth  was  removed  and  carried  from  the 
lodge  upon  the  blanket. 


no       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

THE  SKULL  REPAINTED. 

Chanitoe  began  retouching  the  paint  on  the  skull.  First  he 
painted  the  tip  of  the  left  horn  black  and  over  the  left  half  of  the  skull 
he  made  a  number  of  black  dots,  drawing  a  crescent-shaped  symbol 
on  the  lower  edge  of  the  maxillary.  The  same  treatment  was  applied 
to  the  right  half  of  the  skull  by  Watangaa,  who  used  red  paint.  The 
skull  was  then  placed  in  position  just  behind  the  excavation,  which 
it  faced,  as  well  as  the  center-pole,  and  the  east. 

THE  SODS  PAINTED. 

Chanitoe  and  Watdngaa  lifted  one  of  the  sods  and  placed  it  on  the 
south  side  of  the  excavation,  and  then  placed  the  other  on  the  north. 
Hawkan  took  some  dry  black  paint  and  drew  a  straight  line  which  equally 
divided  the  floor  of  the  excavation.  The  black  paint  was  then  passed 
to  Watangaa,  who  filled  in  the  left  half  in  fine,  close,  black  lines. 
The  bag  of  black  paint  which  had  been  used  for  this  purpose  was  then 
tied  up  and  placed  on  the  south  side  of  the  south  sod.  Hawkan  then 
took  red,  dry  paint  and  poured  a  stream  just  to  the  right  of  the  black 
line  across  the  excavation.  He  handed  the  paint  to  VVadnibe,  who 
filled  in  the  right  half  with  red. 

Hdwkan  took  a  bunch  of  the  rabbit  bushes,  handed  them  to 
Watdngaa,  who  knelt  before  the  sod  on  the  south  side,  spat  upon  the 
sod  five  times,  and  then  in  the  southeast  corner  of  the  sod,  planted 
one  of  the  bushes,  a  second  in  the  southwest,  third  in  the  northwest, 
the  fourth  in  the  northeast  corner,  and  the  fifth  in  the  center,  Hocheni 
first  touching  the  sods  with  the  pipe-stem.  (See  Plate  LIL)  Chanitoe 
placed  in  the  north  sod  a  similar  number  of  bushes,  going  through  the 
same  performance.  Both  men,  assisted  by  two  or  three  of  the  women, 
now  thickly  planted  the  bushes  over  the  top  of  the  sod,  until  the  sur- 
face was  almost  covered.     (See  Plate  LIIL) 

THE  SEVEN  TREES. 
Watdngaa  and  Chanitoe  now  took  up  the  cedar  tree  and  carried  it 
to  the  south  of  the  south  sod,  Watdngaa  making  first  a  hole  with  the 
digging-stick,  into  which  the  cedar  was  firmly  implanted.  Next, 
Watdngaa  dug  a  hole  about  a  foot  to  the  south  of  the  cedar  tree,  into 
which  he  and  Chanitoe  inserted  the  willow.  Then  the  two  black 
painted  cottonwoods  were  placed  about  a  foot  apart,  and  still  to  the 
south  of  the  willow,  the  four  being  in  line.  These  two  men  then 
inserted  in  similar  spaces  on  the  north  side  of  the  north  sod,  and  in 
line    with    the    others,    the    three    red    painted    cottonwoods.     Then 


Pl.  LII.    H<5cheni  Touching  the  Sods  with  the  Pipe-stem,  Preparatory  to  the 
Insertion  of  the  Rabbit  Bushes.    Fifth  Day,  1902. 


PL.  Llll.    Watanah  and  Nakaash,  Inserting  the  Rabbit  Bushes  in  the  Sods. 

Fifth  Day,  1902. 


PL   LIV.    Placing  Cottonwood  Limbs  in  Position  on  the  North  Side  of  the 
Altar.    Fifth  Day,  1902. 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  LV. 


Pl.  LV.    Placing  the  Willow  Tree  in  Position  on  the  South  Side  of  the  Altar. 

Fifth  Day,  1902. 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  LVI. 


PL.  LVI.    Placing  the  Last  Cottonwood  Limb  in  Position  on  the  South  Side  of 
THE  Altar.    Fifth  Day,  1902. 


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i 

PL.  LVII.    Nakaash  Placing  in  Position  the  First  of  the  Seven  Upright  Sticks 
ON  THE  South  Side  of  the  Ditch.    Fifth  Day,  1902. 


;vv,.j»:i4'A''^>;» :    .  • .  .>  .  m. 


,■>-.  ,,^,-_  /v., 


Pl.  LVIII.    Watanah  Placing  the  Upright  Sticks  on  the  North  Side  of  the 
Ditch.    Fifth  Day,  1902. 


PL.  LIX.    HocHENi  Touching  the  Upright  Sticks  with  the  Pipe-stem,  Preparatory 
TO  Their  Being  Enveloped  in  Colored  Eagle  Down.    Fifth  Day,  1902. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  ixi 

Watangaa  took  the  black  billet  and  placed  it  parallel  with  and  to  the 
south  of  the  excavation  and  distant  from  it  about  three  inches.  (See 
Plates  LIV.,  LV.,  and  LVI.) 

THE  SEVEN  UPRIGHT  STICKS. 

Other  priests  had  carried  on  the  work  of  decorticating  the  dog- 
wood limbs,  of  which  there  were  now  fourteen,  seven  having  been 
painted  black  and  seven  red.  The  sticks  were  about  eighteen  inches 
in  length,  sharpened  at  one  point  and  entirely  decorticated,  except  for 
the  space  of  about  an  inch  at  the  upper  end.  Watangaa  now  took  the 
seven  black  sticks  and  coated  them  with  eagle  down  which  had  been 
rubbed  in  black  tallow.  These  he  then  inserted  in  the  ground,  at 
equal  spaces  apart,  between  the  black  billet  and  the  excavation. 

The  wife  of  Watangaa  handed  him  the  red  billet,  which  he  now 
placed  on  the  north  side  of  the  excavation,  and  in  a  corresponding 
position  to  the  black  billet.  The  seven  red  sticks  were  then  coated 
with  red  eagle  down,  and  were  placed  in  a  row  between  the  red  billet 
and  the  excavation  and  opposite  the  black  sticks.  (See  Plates  LVIL, 
LVIII.,and  LIX.) 

THE  WHEEL  AND  PIPE  PLACED  IN  POSITION. 
Watangaa  then  took  up  the  Wheel,  which  had  been  leaning  against 
the  center-pole  upon  its  support,  and  passing  around  the  lodge  in  a 
dextral  circuit,  he  placed  its  willow  support  near  and  at  the  back  of 
the  skull  and  placed  the  Wheel  in  a  fork,  first  having  inserted  a  piece 
of  sage  so  that  the  Wheel  would  not  come  in  contact  with  its  support. 
He  then  carried  a  leather  bag  and  the  straight  black  pipe  with  round 
stem,  and  a  bundle  of  sage,  and  deposited  them  to  the  south  of  the 
Wheel  and  just  back  of  the  cedar  tree. 

THE  SEVEN  CURVED  STICKS. 

In  the  mean  time  the  priests  had  made  seven  little  cottonwood 
sticks  ranging  in  length  from  six  to  ten  inches.  These  were  all 
decorticated  except  for  a  short  space  in  the  middle,  and  were  sharp- 
ened at  both  ends.  These  were  now  taken  up  by  Watingaa,  who 
painted  one  half  of  them  black  and  the  other  red.  These  were  now 
bent  in  the  form  of  a  semicircle  and  thrust  into  the  excavation  at  a 
distance  of  one  inch  apart,  beginning  at  the  end  near  the  skull,  the 
center  of  the  semicircle  being  just  above  the  median  red-and-black 
line.  Hawkan  now  sprinkled  dry  black  paint  on  the  south  sod,  while 
Watdngaa  sprinkled  red  paint  on  the  north  sod. 


112       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

THE   ALTAR,  1902. 

The  rites  followed  in  erecting  the  altar  of  1902  were  quite  similar 
to  those  of  the  previous  year.  A  brief  r^sum^  of  the  order  of  the 
procedure  of  the  second  year  is  here  added  for  the  purpose  of  com- 
parison with  the  order  on  the  previous  year. 

Hawkan,  Watanah,  Watdngaa,  and  Chanitoe,  after  the  ceremonial 
smoking  which  followed  the  bringing  of  the  sods  to  the  lodge, 
removed  the  skull  and  other  paraphernalia  back  toward  the  western 
portion  of  the  lodge,  and  placed  them  in  the  same  relative  position 
that  they  had  occupied  in  the  Rabbit-tipi.  Sage  was  put  upon  the 
ground  behind  the  skull  for  the  Lodge-Maker's  bed.  With  the  usual 
movements  with  the  pipe-stem  by  Hawkan,  Watangaa's  wife,  Hisenibe, 
prepared  the  cedar  tree,  the  hole  for  which  Nakaash  had  dug  after 
Hocheni  had  made  the  usual  passes  with  the  pipe-stem.  The  latter 
also  made  the  movements  with  the  pipe-stem  for  the  ditch  which  was 
dug  by  Waakat'ani  and  Nishnat^yana. 

In  placing  the  cottonwoods  and  the  willow  and  cedar  trees,  and  in 
the  paint  of  the  ditch  and  of  the  sides,  etc.,  there  is  nothing  to  be 
added  to  the  account  already  given  for  the  performance  of  the  pre- 
ceding year. 

THE  SYMBOLISM  OF  THE  OFFERINGS-LODGE. 

The  Offerings-lodge  itself,  with  its  various  accessories  as  they 
existed  at  this  time,  may  now  be  described. 

MAN-ABOVE. 

The  lodge  proper  stands  in  the  center  of  the  camping-circle. 
(See  Plate  LX.)  The  center-pole  (nawahtaheh,  reach-pole)  of  the 
lodge  is  about  twenty  feet  in  height.  The  pole  itself  was  of  cotton- 
wood:  for  in  the  dramatization  it  represents  a  mythical  cottonwood 
upon  which  the  woman  climbed  in  her  chase  after  the  porcupine  to 
the  upper  regions,  and  so,  consequently,  it  bears  also  the  prayers  of 
the  people  to  heaven,  and  is  the  symbol  of  the  Man-Above.  The 
center  fork  also  typifies  the  Arapaho  and  all  life-elements. 

At  equal  distances  apart,  and  at  a  radius  of  about  twenty-two  feet 
from  the  center-pole,  were  sixteen  uprights  of  cottonwood,  terminat- 
ing in  a  fork.  These  poles  are  called  nenSsunueh  (split-poles).  These 
outer  uprights  were  connected  by  cross-pieces  (tchebbetiithana, 
cross-hanging).      Resting  on  top  of  these  cross-pieces  and  in  the  fork 


PL.  LX.    The  Offerings-lodge.    Third  Day,  1902. 


Fig.  I.    South  section  of  camp-circle. 
Fig.  2.    The  completed  Offerings-lodge. 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  LX. 


FIG.  2. 


i 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  '  113 

of  the  outer  upright  poles  were  long,  slender  cottonwood  poles,  reach- 
ing up  to  the  fork  of  the  center-pole.  These  are  called  "hakabuna." 
Extending  entirely  around  the  lodge,  except  for  a  single  space  toward 
the  east,  were  placed  small  cottonwood  limbs,  with  their  foliage  out- 
side, on  the  ground,  their  tops  leaning  against  the  cross-piece. 

THE  FOUR-OLD-MEN. 

Counting  from  the  first  rafter-pole  at  the  south  of  the  east  open- 
ing, the  fourth  and  the  seventh  were  painted  black  (watannenithe), 
while  the  third  and  sixth  poles,  occupying  corresponding  positions  on 
the  north  side,  were  painted  red  (be^nithe).  These  are  the  only  two 
colors  used  in  the  Offerings-lodge,  although  in  the  lodges  of  the  vari- 
ous other  ceremonies  paints  of  other  colors  are  used.  The  poles 
painted  black  are  symbolic  of  the  earth  and  of  the  victory  which 
comes  from  the  triumph  over  the  enemy  when  one  wears  the  black 
paint,  as  well  as  happiness  which  comes  from  conquering  the  hardships 
of  life.  The  two  red-painted  poles  are  symbolic  of  the  Indian' race 
offering  prayers  to  the  above;  the  red  also  typifies  cleanliness  and  the 
wish  to  be  old  and  happy. 

Collectively,  the  four  painted  poles  represent  the  Four-Old-Men 
or  Gods  of  the  Four  World  Quarters.  They  cause  the  wind  to  blow, 
and  human  life  is  dependent  on  them  for  their  breath.  In  fact,  all 
life  is  dependent  on  the  "breath  of  the  air,"  which  comes  from  the 
Four-Old-Men.  They  are  thus  prayed  to  during  the  ceremony.  A 
similar  color  symbolism  is  attached  to  the  red  and  black  bands  around 
the  center-pole.  They  are  also  said  to  be  the  reflection  of  the  sun 
upon  the  earth. 

The  reasons  ascribed  for  the  number  of  the  upright  poles  forming 
the  outer  circle  of  the  lodge,  viz.,  sixteen,  was  that  this  was  the  num- 
ber in  the  first  Offerings-lodge  revealed  to  man.  It  may  be  noted 
here  that  the  number  of  poles  used  in  an  ordinary  tipi  varies  from 
twelve  to  eighteen,  according  to  the  size  of  the  tipi,  while  in  the 
Sweat-lodge  there  are  seven  primary  poles. 

NIH'A-'GA''  AND  THE  ELK  SKULL. 

The  loosely  placed  upright  boughs  of  cottonwood  surrounding  the 
lodge,  except  at  the  east  door,  have  already  been  mentioned.  The 
boughs  were  especially  thick  at  the  west  side  of  the  lodge,  behind 
the  altar.  The  reason  given  for  this  referred  to  a  certain  myth: 
"When  Nih'a"9a"  came  to  the  Offerings-lodge,  he  went  behind  it  and 
peeped  through ;  in  doing  this  he  stuck  his  head  forward  to  see  the 


114       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

dancers,  when  the  ceremony  closed,  fastening  his  head.  The  people 
who  were  having  the  great  ceremonial  dance  were  mice.  The  mice 
dispersed,  and  Nih'a"9a"  went  toward  the  river  with  the  elk  skull  on 
his  head;  hence  we  think  the  mice  gave  this  ceremony  to  the  Indians, 
not  the  rabbits." 

THE  THUNDERBIRD  NEST. 

Placed  in  the  center-pole,  as  has  been  noted,  were  two  large 
bundles  of  willow  and  cottonwood  boughs,  placed  end  to  end.  These 
represent  the  nest  of  the  eagle,  or  of  the  Thunderbird.  According  to 
a  myth  the  Thunderbird  built  its  nest  on  the  cottonwood  tree.  When 
the  female  had  given  birth  to  young  ones  she  went  off  and  captured  a 
young  steer  and  carried  it  to  her  nest  for  food.  There  she  reared  her 
young.  Just  as  birds  fly  about  overlooking  the  earth,  so  does  the 
Father.     He  is  in  the  form  of  a  bird. 

The  presence  of  the  digging-stick,  which  was  placed  first  in  the 
fork  of  the  center-pole,  represented  the  digging-stick  used  by  the 
mythological  woman  as  she  dug  up  the  bush,  and  thereby  obtained  a 
glimpse  of  the  world  below  which  she  had  left,  while  the  sinew  attached 
to  the  digging-stick  represented  her  means  of  escape  from  the  upper 
world. 

Attached  to  the  digging-stick  was  a  bunch  of  partly  braided 
grass,  along  with  a  piece  of  tallow;  these  together  represent  a  person, 
the  grass  being  the  hair  and  the  tallow  the  skin.  The  tallow  is  con- 
sidered potent,  for  it  refers  to  the  body,  with  the  breath  of  life.  It  is 
circular  in  form,  for  it  represents  the  head  and  therefore  the  mind  or 
thought  of  the  people.  The  tallow  has  also  a  further  significance. 
In  a  preceding  page  has  been  explained  the  symbolism  of  the  fire  of 
the  Rabbit-tipi.  In  order  successfully  to  kindle  a  fire,  kindling  is 
required.  Hence,  while  the  bodies  of  slain  victims  are  regarded  as 
firewood,  the  scalp  represents  the  kindling  for  starting  the  fire.  The 
tallow  also  typifies  human  skin,  and  also  a  buffalo-wallow,  and  in  a 
derived  sense,  the  human  wallow,  reference  being  made  to  the  wallow 
formed  during  the  rite  performed  by  the  Transferrer,  or  Grandfather, 
and  the  wife  of  the  Lodge-Maker. 

YOUNG-BULL. 

It  will  be  remembered  also  that  a  buffalo  robe  was  placed  in  the 
center-pole.  The  presence  of  the  robe  here  is  explained  by  the  fact 
that  the  paint  worn  by  the  dancers  during  the  ceremony  was  obtained 
from  a  buffalo  bull  seen  standing  on  a  hill.  Hence  it  is  placed  high 
in  the  fork,  where  it  may  be  in  plain  sight  of  the  dancers.     Another 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  115 

informant  stated  that  according  to  the  story  of  Blue-Feather's 
marriage  with  the  cow,  Lone-Bull,  or  Young-Bull,  was  our  father-in- 
law,  because  presents  for  the  completion  of  his  body  were  given  by 
the  husband  and  delivered  by  the  grandchild.  Young-Bull  is  the 
grandchild  of  the  Sun.  When  the  grandfather  puts  on  the  robe  to  have 
connection  with  the  wife  of  the  Lodge-Maker,  he  is  purely  a  buffalo. 
In  the  story  of  Splinter-Foot,  she  became  the  wife  of  Lone-Bull 
by  captivity,' or  through  elopement.  When  the  husband  of  the  buffalo 
cow  selected  the  presents  for  the  father-in-law,  he  procured  a  moon- 
shell  (baye,  dirt,  or  sand).  For  speed  he  was  presented  with  four 
moon-shells,  to  be  placed  between  the  joints  of  the  legs,  for  the  reason 
that  there  are  the  representations  of  the  sun's  revolution,  at  the  wrists 
and  ankles,  and  one  at  the  sternum.  Young-Bull  was  the  animal  who 
gave  seven  lodges  to  the  Arapaho,  as  is  related  in  the  story  of  the 
origin  of  the  Sun  Dance,  when  various  animals  chose  their  position  in 
life.  The  "moon"  discs  which  were  fastened  to  the  robe  represented 
the  throat,  and  thus  the  noise  made  by  the  buffalo,  while  the  eagle 
feathers  which  were  attached  to  the  robe  were  symbolic  of  the  feather 
of  the  Thunderbird,  and  represented  a  prayer  for  rain,  and  thus  for 
vegetation.  Also  by  these  eagle  feathers  respect  was  shown  to  Young- 
Bull,  and  they  may  also  be  considered  as  a  gift  to  the  Man-Above. 
The  incisions  in  the  front  end  of  the  buffalo  robe  have  already  been 
noticed.  Naturally,  nowadays,  it  is  not  easy  to  obtain  a  buffalo  robe 
for  this  purpose,  and  in  the  present  instance,  the  robe  was  of  three 
pieces  sewn  together. 

STORY  OF  RESULT  IN  NEGLECTING  YOUNG-BULL. 

The-  idea  of  the  importance  of  continuing  the  use  of  the  buffalo 
robe  was  illustrated  in  the  following  story,  obtained  from  Watanah, 
which,  although  of  considerable  length,  is  here  reproduced,  just  as  it 
was  obtained,  as  it  contains  several  interesting  references  to  the 
ceremony. 

In  1879,  these  tribes,  Cheyenne  and  Arapaho,  were  to  a  certain 
extent  troublesome  to  the  authorities,  being  excited  on  account  of 
intruders  on  their  borders.  Not  only  that,  but  these  Indians  (those 
especially  from  the  north)  were  dissatisfied  with  the  country  and  the 
climate.  Som'e  time  after  the  above  year,  the  Northern  Cheyenne 
made  a  break  to  return  to  their  northern  home,  but  they  were  com- 
pelled to  remain  here  (in  Oklahoma).  Quite  a  band  of  them  managed 
to  get  away,  and  reached  their  original  home,  but  some  were  over- 
taken close  to  the  agency,  and  had  skirmishes  with  the  military,  which 
caused  some  bloodshed  on  both  sides. 


ii6       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

After  these  troubles  had  taken  place,  an  Arapaho  Indian,  Joined- 
Together,  had  vowed  to  erect  an  Offerings-lodge  for  his  personal 
benefit,  but  the  sacred  pledge  was  made  and  given  out  in  the  fall  of 
the  year;* consequently  the  Indians  looked  for  the  ceremony  to  take 
place  some  time  in  the  spring  (May). 

Naturally,  with  the  Indians,  the  forthcoming  Sun  Dance  cere- 
mony draws  a  number  of  young  men  to  participate  voluntarily.  Of 
course  some  vowed  on  account  of  sickness  in  their  families,  others  on 
account  of  dreams.  Usually  the  young  men  keep  their  vows  or 
pledges  secret  for  some  time,  until  a  short  time  before  the  cere- 
mony. 

In  the  fall  of  1879  a  small  party  of  young  Arapaho  men  escaped 
from  the  Agency  and  started  for  Wyoming.  At  that  time  the  Sur- 
rounding Indians  were  still  unfriendly  to  fhe  Cheyenne  and  Arapaho. 
The  young  men  who  w*re  in  the  party  had  the  spirit  of  war  (and  some 
of  them  are  still  living).  Before  they  started  off,  one  of  them,  know- 
ing that  the  Sun  Dance  was  to  take  place  among  the  Indians,  pledged 
that  he  would  take  part  in  the  dance,  but  kept  it  secret.  On  their 
arrival  at  the  Northern  Arapaho  camp-circle,  there  was  a  war  party 
from  here  (Oklahoma),  which  was  composed  of  the  best  warriors,  and  the 
party  agreed  to  go  along.  In  the  night  they  sung  war  songs,  and  one  day 
the  party  went  away  for  black  paint  (the  black  paint  means  a  victory). 
The  young  man  who  pledged  to  fast  in  the  Sun  Dance  ceremony  of 
Joined-Together,  wished,  at  the  time  he  left  his  own  home,  for  his  safe 
return.  The  war  party  came  to  a  band  of  Paiute  Indians  in  the  west 
Big  Horn  Mountains,  and  a  hard  fight  took  place.  In  this  fight  two 
of  the  Southern  Arapaho  and  one  Paiute  were  killed.  The  young  man 
who  was  to  fast  in  the  Sun  Dance  took  a  prominent  part,  and  again 
at  the  General  Custer  fight,  where  he  struck  many  soldiers.  Every- 
body that  saw  him  as  he  charged  would  be  eye-witnesses.  After  the 
last  fight,  he  came  back  to  the  Northern  Arapaho,  and  told  the  old 
people  of  his  luck.  So  the  old  men  gave  him  the  new  name,  which 
was,  "Famous,"  his  old  name  being,  "Weed-Boy." 

After  staying  some  time  with  the  Northern  Arapaho,  this  young 
man  worried  much  in  regard  to  his  vow.  A  big  camping  circle  was 
near  the  river  (probably  a  river  near  Ft.  Harrison).  One  night  this 
young  man,  Famous,  went  to  an  old  man  ("priest,"  meaning  "strip  of 
buffalo  back),"  weeping  as  he  went.  This  young  man  said  to  the  old 
priest,  "Now,  Old  Man,  I  have  come  over  to  tell  you  that  I  was  to 
fast  in  the  Sun  Dance  ceremony  in  the  south,  but  am  here,  and  I  don't 
know  what  to  do.  May  a  young  man  go  to  the  top  of  a  hill  and  stake 
himself  to  the  ground  and  fast?     Will  you  please  tell  me  what  is  the 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  117 

proper  thing  for  me  to  do,  for  I  want  to  get  rid  of  my  vow."  "Well, 
young  man,  the  Cheyenne  stake  themselves  to  the  ground  on  the  hill 
and  fast,  but  it  is  not  so  with  us.  I  am  an  old  man  and  never  heard 
of  such  a  thing.  But,  young  man,  you  can  clear  yourself  by  erecting 
an  Offerings-lodge,  and  I  shall  do  my  utmost  duty  to  hasten  it  along, 
and  the  people  will  do  what  I  say,"  said  the  old  priest.  So  that  same 
night  the  word  was  given  out  that  Famous,  the  Southern  Arapaho, 
would  erect  the  Sun  Dance  lodge  as  soon  as  possible ;  that  the  young 
men  should  go  out  early  in  the  morning  and  catch  a  jack-rabbit. 

The  people  were  glad  to  hear  the  news,  and  prepared  themselves 
with  good  clothes,  etc.,  for  the  coming  occasion.  In  the  morning 
there  were  several  parties  on  horseback,  collected  on  the  hills,  and 
they  began  to  look  for  a  jack-rabbit  along  the  ravines  all  day  long, 
but  came  home  unsuccessful. 

In  the  camp-circle  there  was  a  tipi  by  itself  in  front,  used  for  a 
general  council,  etc.,  and  in  that  tipi  the  chiefs  and  head  man  had  a 
conference  over  the  Sun  Dance.  The  whole  camp-circle  was  broken 
up  to  move  to  a  new  site  for  the  ceremony,  and  the  people  were 
informed  that  the  young  man  was  to  have  a  black  steei  (domestic)  for 
his  buffalo  bull  hide  in  the  fork  of  the  center-pole.  So  the  chiefs  and 
head  men  went  to  the  Agent  in  Charge,  who  told  the  Indians  to  select 
whatever  they  desired  from  the  herd.  When  the  people  were  moving 
to  the  new  site,  a  jack-rabbit  jumped  up  on  the  way,  and  the  people  of 
course  seized  this  opportunity,  and  soon  caught  the  animal.  A  party 
of  young  men  was  sent  out  to  look  for  the  black  steer  (substitute),  to 
kill  it,  and  to  bring  in  the  hide  and  beef.  Thus  the  hide  was  furnished 
as  directed  by  the  old  priest. 

The  ceremony  began  without  much  delay.  When  the  two  sods  of 
earth  were  to  be  searched  for,  this  old  priest  told  the  Lodge-Maker 
and  dancers  to  get  ready  and  put  their  moccasins  on,  for  the  distance 
was  far.  This  old  priest's  wife  got  a  pony  with  a  travois  and  a  black 
blanket  and  axe,  while  he  supplied  himself  with  a  knife.  "All  those 
who  wish  to  go  along,  come,  and  let  us  journey  for  the  sods.  Some- 
times it  is  necessary  for  some  to  put  on  moccasins  for  the  long 
journey,"  said  the  old  priest.  (In  Wyoming,  the  sod  for  this  purpose 
is  hard  to  find,  and  for  this  reason  they  had  to  go  very  far.)  So  the 
party,  consisting  of  the  priest  and  his  wife,  who  was  riding  the  pony, 
the  Lodge-Maker  and  dancers,  started  after  the  two  sods.  They 
finally  came  to  a  place  where  there  was  a  spring,  and  the  ground  was 
slightly  wet  and  had  some  grass.  After  a  short  ceremony  they  placed 
these  sods  on  the  travois,  and  away  they  went  to  the  Offerings-lodge. 
When  the  party  (geese)  got  to  the  outskirts  of  the  camp-circle,  they. 


ii8       Field  Columbian  Museum — Anthropology,  Vol.  IV, 

took  the  sods  off  the  travois  and  all  took  hold,  then  circled  about,  imi- 
tating the  voices  of  geese,  and  thus  reached  the  inside  of  the  lodge. 

This  old  priest  hastened  the  ceremony  without  unnecessary 
expense  to  the  Lodge-Maker.  The  Lodge-Maker  had  left  his  wife 
here  at  home  (Oklahoma),  and  therefore  had  to  have  a  substitute. 
After  a  few  hours'  consultation,  the  woman  Thiyeh,  now  of  Colony, 
was  chosen  as  the  grandchild  of  the  ceremony.  It  happened  that  her 
brothers  were  to  fast,  which  made  her  consent. 

The  ceremony  went  on.  The  black  steer  hung  over  the  fork,  and 
the  fasting  Lodge-Maker  looked  at  it,  as  did  also  the  others.  Before 
the  end  of  the  ceremony  most  of  the  men  went  out  of  the  lodge  on 
account  of  severe  heat.  Very  few  stood  the  fasting.  It  is  said  that 
because  the  old  priest  did  not  carry  out  the  strict  routine  of  the  cere- 
mony, it  made  it  hard  for  the  dancers,  etc.  This  old  priest  conducted 
the  ceremony  just  like  Hdwkan,  only  he  went  too  far,  as  to  the  use  of 
the  different  thing's.  After  this  ceremony,  this  old  priest  became  sick 
and  died.  The  young  Lodge-Maker  returned  to  his  home  in  "Okla- 
homa, and  went  back  to  his  wife  with  a  new  name,  as  a  good  warrior. 
Shortly  after  his  return,  a  Club-Board  lodge  was  pledged  for,  and  he 
was  in  the  society.  When  the  head  men  of  this  society  were  looking 
among  the  young  men  as  to  whom  the  club-boards  should  be  given, 
this  Famous  was  given  one  which  had  notches  on  the  edge,  black 
feathers  for  pendants;  and  the  rest  were  given  to  those  who  were  in 
the  fight  with  the  Paiute  Indians.  This  young  man.  Famous,  became 
sick  and  died  suddenly.  Therefore,  the  Indians  believe  that  because 
the  Sun  Dance  ceremony  was  wrongfully  conducted,  it  was  bad  luck 
to  the  priest  as  well  as  to  the  Lodge-Maker.  It  is  right  to  do  the 
thing  in  the  right  way.  That  is  the  reason  why  the  older  people  are 
very  careful  in  regard  to  the  mode  of  speech  and  doings  in  the  cere- 
monies. They  say  that  everything  in  nature  looks  to  them,  watching 
them  during  the  day  as  well  as  during  the  night.  This  was  in  1879, 
and  since  that  time  the  Arapaho  say  that  they  have  always  been  care- 
ful to  use  only  the  robe  of  a  buffalo. 

The  long,  narrow  piece  of  rawhide  which  is  used  for  tying  the 
bundle  is,  as  has  been  noted,  painted  half  red  and  half  black;  it,  like 
the  Badger-pack,  must  be  carried  or  packed,  like  a  live  baby. 

THE  ABIDING-PLACE  OF  MAN-ABOVE. 

The  buffalo  skull,  which  occupies  such  an  important  position  in 
all  Sun  Dance  altars,  is  probably  looked  upon  as  the  dwelling-place, 
during  the  ceremony,  of  Man-Above  (Hakhueah).  (See  Plate  LXI.) 
0{  the  painting  of  the  buffalo  skull,  the  color  symbolism  is  in  general 


PL.  LXI.    The  Altar.    (For  Explanation,  See  Text.)    Fifth  Day,  1902. 


Pl.  LXII.    Details  of  the  Altar.    Fourth  Day,  1901. 


Fig.  I.     The  sod  for  the  left  side  of  the  altar. 

Fig.  2.    After  the  sage  floor  has  been  placed  in  the  ditch. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  119 

the  same  as  that  used  on  the  poles  and  the  center-pole  of  the  lodge. 
The  various  black  and  red  dots  indicate  prayers,  while  the  grass  knobs 
placed  in  the  eye-sockets  and  in  the  nasal  cavities  were  said  to  indi- 
cate the  times  when  the  Indians  used  grass  garments,  before  the 
appearance  of  the  buffalo.  The  grass  balls  in  the  eyes  and  nose  of 
the  skull  are  also  said  to  represent  the  Last-Child.  This  Last-Child 
is  often  referred  to  by  the  old  men  in  their  prayers.  He  is  the  owner 
of  the  rivers  and  creeks.  He  is  the  water  monster  that  abides  in 
deep  places.  His  name  means,  ''to  urinate"  last.  He  is  at  the  outlet 
of  the  river  or  creek,  the  water  runs  off  first,  and  Last-Child  follows. 
When  Garter-Snake  was  being  instructed  of  the  various  things  to 
apply  to  the  big  lodge,  the  skull  was  complete,  with  its  natural  eyes 
and  nostrils.  That  was  the  very  first  one,  but  since  then,  the  body  of 
the  Last-Child  was  substituted,  which  was  the  water  grass,  or  flat 
grass.  The  buffalo  then  is  complete,  i.e.,  the  life  is  restored,  when 
these  balls  are  being  annexed,  for  the  animal  lives  on  the  grass.  ,The 
location  of  these  balls  of  grass  corresponds  to  that  of  the  Four-Old-Men. 

THE  SKY  AND  EARTH. 

The  two  circular  pieces  of  sod  (bita,  earth)  symbolized  the  gift 
of  the  powers  above  to  the  human  race,  the  smaller  sod  representing 
the  present  earth,  the  larger  the  future  earth.  (See  Fig.  i,  Plate 
LXn.)  They  are  also  said  to  stand  for  Father  and  Mother,  the  sky 
and  the  earth,  the  smaller  sod  being  the  Mother,  the  larger  one  the 
Father.  They  are  called  the  "scalps,"  the  hands  of  the  father  and 
mother  for  the  Arapaho  race.  In  the  sod,  and  represented  as  growing 
out  of  it,  were  placed,  as  has  been  described,  large  numbers  of  small 
rabbit  bushes  (nakhiiwushshi),  so-called  because  the  rabbits  eat  the 
red  berries.  These  bushes  are  typical  in  general  of  all  berries  and 
fruits,  plums,  cherries,  etc.,  and  express  the  idea  that  there  should  be 
an  abundance  of  fruit,  that  the  people  might  increase  and  have 
plenty. 

From  another  informant  this  statement  was  obtained:  "When  the 
Creator  made  the  earth  for  earthly  men,  he  also  made  another  one 
for  Nih'a"9a!!.  These  two  sods  typify  the  old  woman  and  the  grand- 
child, or  river  with  stream.  Biitaahwu,  earth,  signifies  bare,  plain, 
exposed,  without  fruit.  This  was  the  appearance  in  the  beginning, 
i.  e.,  there  were  yet  no  beings.  Sods  were  made  later  on,  after  the 
big  lodge  was  fully  matured  for  Garter-Snake.  It  can  be  better  under- 
stood in  this  way:  A  woman  kills  a  creature  and  sheds  blood  and 
brings  the  scalp,  hide,  or  skin.  For  that  reason,  the  tallow,  being  the 
skin,  bears  the  blood  (red  paint)  and  prosperity  (black  paint).     It  is 


lao       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

said  that  the  man  then  adhered  to  the  woman  for  the  first  time ;  there- 
fore comes  the  seed,  the  people." 

The  bushes  on  the  sods  represent  the  hair  of  persons.  Those 
bushes  are  called  garter-snake  or  rabbit  weeds,  which  means  the  blood, 
for  the  reason  that  they  bear  red  berries,  etc.  The  sods  are  obtained 
from  swampy  places,  because  the  ground  or  earth  sticks  together. 
Generally  they  are  taken  out  from  near  springs. 

THE  TIP!. 

In  front  of  the  skull  was  the  rectangular  excavation  known  as  the 
"ditch"  (hahaawuhe) ;  from  earth  similar  to  that  removed  from  this 
ditch  were  made  man  and  woman.  For  this  reason  the  Lodge-Maker 
stands  here  during  the  ceremony,  as  all  men  spring  from  the  earth. 
By  another  informant,  this  ditch  was  spoken  of  as  the  "lake."  The 
semicircular  twigs  which  extend  from  the  red  into  the  black  field  of 
the  ditch,  were  seven  in  number,  and  represented  the  seven  poles  of 
the  Sweat-lodge,  and  were  also  typical  of  seven  periods  in  the  Arapaho 
creation  myth. 

The  sage  which  was  placed  in  the  ditch,  and  upon  which  the 
Lodge-Maker  stood  while  dancing,  on  account  of  its  white  color  is 
typical  of  cleanliness,  and  so,  consequently,  indicates  a  feeling  of 
reverence  toward  the  Father.  It  is  also  symbolic  of  the  idea  of  the 
wish  that  the  tribe  may  increase.     (See  Fig.  2,  Plate  LXII.) 

Lying  just  on  opposite  sides  of  the  ditch  were  two  cottonwood 
billets,  the  one  painted  black  on  the  left,  with  one  painted  red  on  the 
right.  These  billets  bear  the  name  "nahutech,"  which  name  is  also 
applied  to  similar  but  longer  billets  which  are  used  for  defining  in  the 
lodges  the  position  of  the  sleeping  mats. 

Between  the  billets  and  the  edge  of  the  ditch  were,  on  each  side, 
seven  upright  sticks,  those  on  the  left  being  black,  and  those  on  the 
right  being  red.  The  color  symbolism  of  these  uprights  and  of  the 
billets  is  the  same  as  has  been  given.  These  sticks  bear  the  name 
of  "thikd&na, "  which  name  is  likewise  borne  by  the  pins  used  for 
fastening  the  tipi.  The  pins  were  of  dogwood,  for  it  is  straight  and 
hard,  and  was  formerly  employed  in  the  manufacture  of  arrows.  The 
number  of  the  pins  on  each  side  was  typical  of  the  seven  periods  of  crea- 
tion. The  downy  feathers  which  were  applied  to  the  pins  represented 
the  breath  of  Man-Above.  The  "ditch"  with  its  "beds"  and  tipi  pins 
is  referred  to  collectively  as  a  symbolic  tipi. 

Another  informant  gives  the  following  account  of  this  ceremonial 
tipi:  The  whole  ditch  is  the  fireplace.  The  four  inverted  U-shaped 
sticks  at  the  west  end  represent  the  Sweat-lodge,  which  produces  the 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  121 

heat  that  cleanses  the  body  and  gives  subsistence  to  mankind.  In 
other  words,  it  is  the  rising  of  the  sun,  with  its  course  during  the  day, 
the  cleared  place  extending  from  the  inverted  U-shaped  sticks  being 
the  path.  Then  the  seven  sticks  on  both  sides  and  the  two  lying 
along  the  side  of  the  sticks  represent  a  tipi,  for  the  reason  that  the 
Lodge-Maker  stands  inside.  The  standing  sticks  are  symbols  of 
breastpins,  and  the  two  sticks,  protectors  from  the  fire,  the  boundary- 
line  between  the  people  and  the  fireplace. 

The  river  of  life  is  represented  by  locating  the  lake  of  holy  water, 
to  extend  to  the  Wheel,  then  to  the  skull,  on  to  the  hiiman  being,  the 
Lodge-Maker.  After  the  earth,  then  the  rivers  and  creeks  were  made ; 
thus  the  Last-Child. 

The  Garter-Snake  represents  the  course  of  the  river  of  life,  and 
it  is  for  this  reason  that  the  Wheel  is  next  to  the  skull.  The  skull 
bears  the  picture  of  the  creation  of  the  earth,  together  with  the  symbol 
of  human  breath.  Garter-Snake  is  the  Last-Child.  All  the  food  that 
is  offered  goes  to  him  and  he  eats  it.  The  altar  represents  a  tipi, 
the  word  for  which  means  growing,  I  command,  I  say,  I  have  camped, 
I  have  told  it  to  you.  The  altar  represents  a  river,  with  timber,  tipi, 
and  a  human  being,  represented  by  the  woman  who  sits  behind  the 
altar,  a  little  to  the  left  of  the  Wheel.  The  seed  comes  from  the 
woman,  that  gives  life  to  children,  just  as  water  comes  out  from  a  spring. 

When  the  Lodge-Maker  enters  the  ditch  the  tipi  is  made  complete. 
The  man  takes  the  lead  and  the  wife  follows.  In  other  words,  the 
action  of  the  Lodge-Maker  to  the  ditch  points  to  the  intercourse; 
therefore  come  the  children,  the  woman  sitting  behind  the  Wheel. 
The  ditch  is  the  path.  This  tipi  (altar)  was  inhabited  by  an  old 
woman  close  to  a  river,  and  Garter-Snake  was  her  grandchild,  i.  e.,  in 
other  words,  the  big  river  with  a  stream.  (This  old  woman  made 
ditches  inside  of  the  tipi,  extending  to  all  directions,  to  catch  her 
food — animals.) 

The  placing  of  food  in  the  ditch  at  the  ceremonial  lodge  is 
giving  it  to  the  Garter-Snake.  This  old  woman  puts  away  the  food, 
and  her  grandchild  goes  and  searches  for  it  during  her  absence.  He 
finds  it  in  a  wooden  bowl,  for  the  reason  that  the  wooden  bowl  is  used 
behind  the  Wheel  in  making  the  holy  water,  hethathonecha,  he  reaches 
the  water,  I  reached  the  water. 

THE  SEVEN  TREES. 
On  the  left  of  the  buffalo  skull,  extending  beyond  the  sod,  was  a 
small  cedar  tree.     It  is  always  green,  keeps  its  color,  is  durable,  looks 
good  to  the  eye,  and  is  a  gift  from  the   Great  Spirit.      Its  twigs  are 


122       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

used  as  sacred  incense.  It  stands  on  the  south  side  of  the  altar  that 
it  may  be  closer  to  the  sun.  Next  to  the  cedar  was  a  small  willow 
tree,  which  is  typical  of  long  life  and  of  cleanliness.  It  is  therefore 
used  by  the  Arapaho  in  the  Sweat-lodge,  as  well  as  in  their  mattresses 
and  head  pillows. 

Beyond  the  willows  were  two,  while  on  the  north  side  of  the  skull 
were  three  cottonwood  limbs,  five  in  all;  as  the  Father  had  created 
human  beings  with  five  fingers  and  five  toes.  The  cottonwood  is  said 
to  grow  very  fast,  looks  clean,  cool,  and  shady. 

THE  WHEEL. 

Behind  the  skull,  resting  in  the  fork  of  the  small  willow  stick,  was 
the  Wheel.  A  bunch  of  wild  sage  intervened  between  the  Wheel  and 
the  willow.  This  sage  corresponds  to  the  eagle's  nest  in  the  center- 
pole,  and  it  also  served  to  keep  the  Wheel  clean,  to  prevent  it  from 
coming  in  contact  with  anything.  The  Wheel  itself  has  already  been 
described. 

THE  BADGER-WOMAN. 

Just  to  the  southeast  of  the  skull  was  a  bundle  hitherto  called  the 
"Badger-pack."  The  symbolism  of  its  paint  is  the  same  as  already 
given  for  the  Offerings-lodge  in  general.  It  is  supposed  that  the 
badger  skin  within  its  wrappings  is  like  a  baby  in  a  cradle,  and  is  thus 
carried.  This  skin  is  used  in  the  ceremony  from  the  fact  that  the  ani- 
mal is  skillful  in  digging  and  otherwise  has  wonderful  powers.  It  is 
one  of  the  animals  which  controls  the  underground.  Wherever  there 
is  a  hole  or  a  crack  that  is  dangerous  to  the  race  this  animal  covers  it  up. 
If  there  were  many  holes  and  cracks  in  the  earth  there  would  be  many 
deaths,  but  because  this  animal  was  instructed  by  the  Father  to  help 
the  Indian  race  from  dropping  down,  it  is  reverenced.  The  animal 
itself  is  a  part  of  the  earth.  Beating  the  Badger-pack  or  using  it  as  a 
drum  is  like  filling  holes  or  packing  the  earth  solid.  The  Offerings- 
lodge  therefore  reaches  from  the  bottom  of  the  earth  to  the  upper- 
most part  of  the  sky.  This  explanation  of  the  presence  of  the  badger 
is  due  probably  to  the  myth  of  the  origin  of  the  Buffalo-Women's 
lodge,  in  which  a  badger  (some  say  gopher)  rendered  material  assist- 
ance in  restoring  a  woman  who  had  married  Young-Bull  to  her  true 
husband.  According  to  another  myth,  the  Badger- Woman  played  a 
very  mischievous  part  in  a  certain  episode.  With  this  myth  in  mind, 
the  following  synopsis  of  the  story  was  given  by  one  informant,  for 
the  presence  of  the  badger  skin : 

*'The  badger  was  killed  by  the  wolves  and  coyotes,  because  she 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  123 

buried  her  brother-in-law  alive,  after  tempting  him  to  have  intercourse 
with  her.  Badger-Woman  failed  to  get  her  brother-in-law's  affection, 
and  dug  a  hole  underneath  the  bed,  so  that  when  this  young  man  came 
home  in  the  evening  and  took  his  seat,  he  fell  into  the  hole,  and  Badger- 
Woman  covered  him  up  and  made  the  bed  again.  Any  of  the  Rabbi t- 
tipi  people  can  pack  the  badger.  The  beating  on  the  badger  during 
the  ceremony  punishes  the  Badger- Woman  for  her  crimes." 

Another  and  more  plausible  explanation  of  the  Badger-pack  is  to 
the  effect  that  it  is  symbolic  of  the  earth,  the  beating  of  which,  during 
the  five  songs,  represents  the  primal  division  of  the  earth  and  espe- 
cially the  dissemination  of  vegetation  or  seeds.  These  seeds  are  usu- 
ally represented  by  five  or  seven  buffalo  chips,  symbolic  of  the  gifts  of 
this  animal,  in  this  ceremony  represented  by  beads  and  calico,  which 
at  the  time  of  the  unwrapping  of  the  pack  are  given  away — scattered 
among  the  Rabbit-tipi  servants. 

The  symbol  of  the  buffalo  chip  as  food  is  explained  by  the  myth 
where  Found-in-Grass  gathered  buffalo  chips  over  the  divide,  left 
them  in  a  heap,  looked  back,  gave  a  command,  and  they  became  a 
great  herd  of  buffalo. 

OPENED-BRAINS'  KNIFE. 

The  knife  with  double-edge  blade,  and  which  occupied  a  position 
near  the  skull,  corresponds  in  its  color  symbolism  to  that  which  has  been 
stated  for  the  lodge  in  general.  The  knife  typifies  a  weapon  of  defense 
for  the  tribe,  and,  as  has  been  noted,  is  used  to  mark  the  center-pole 
and  the  four  rafter-beams  before  they  are  painted.  In  accordance 
with  a  myth  this  was  the  "stone  knife  that  Opened-Brains  used  on  the 
woman's  stomach.  He, was  not  satisfied  with  dishes  until  this  preg- 
nant woman  lay  down  in  front  of  him,  when  he  ate  his  meal,  and  acci- 
dentally (but  for  a*  purpose)  struck  her  stomach  with  his  knife." 
Opened  Brains,  or  Tangle-Hair,  was  a  supernatural  being  who  was 
,  conquered  by  Found-in-Grass. 

A  somewhat  different  account  of  the  knife,  obtained  from  another 
informant,  is  as  follows:  "There  were  two  young  men  traveling  across 
the  ocean  on  the  water  monster  (Garter-Snake),  and  before  landing  on 
the  other  side,  one  of  them,  who  was  very  foolish,  played  on  the 
monster.  The  other  one  succeeded  in  getting  across,  but  the  foolish 
young  man  was  pulled  down  in  the  water.  For  some  time  this  young 
man  who  was  by  himself  wept  over  his  partner. 

"One  day,  while  he  was  walking  along  the  shore  with  closed  eyes, 
Thunderbird  came  up  to  him  and  asked  him,  'What  are  you  crying 
about?'      'Well,   my  partner  was    captured    by    the    water    monster,' 


124       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

said  the  young  man.  'You  may  get  a  good  hold  of  your  partner, 
Grandchild,  and  pull  him  out.  I  shall  look  after  you,'  said  Thunder- 
bird.  So  this  young  man,  after  getting  a  good  hold,  pulled  his  partner 
out  from  the  monster.  The  Thunderbird  with  his  knife,  like  the  one 
used  in  the  big  lodge,  jumped  upon  the  monster  and  stabbed  him, 
killing  him  instantly.  When  the  Thunderbird  lighted  on  him,  it 
sounded  like  the  shot  of  a  cannon,  sharp.  This  monster  was  dragged 
out  of  the  ocean  by  Thunderbird.  "  The  two  young  men  then  married 
the  daughters  of  the  Thunderbird.  That  is  the  reason  that  the 
Thunder  is  jealous  of  man.  The  man  and  wife  are  seated  at  a  dis- 
tance, during  the  visit  of  a  thunderstorm  (rain). 

"The  knife  is  the  gift  of  Thunder,  and  the  power  for  mankind 
makes  things  out  of  the  knife." 

THE   COLOR  SYMBOLISM  OF  THE   ORIGINAL   OFFERINGS-LODGE. 

Finally,  it  is  to  be  noted  that  it  is  believed  that  the  present 
arrangement  of  the  color  scheme  employed  in  the  lodge,  where  red  is 
confined  to  the  north  and  black  to  the  south,  is  modern,  having  been 
introduced  by  a  mythical  priest  named  Fire-Wood.  The  story  obtained 
from  the  informant  is  as  follows: 

"Years  ago,  the  painting  on  the  tallow,  the  center  fork,  and  the 
four  poles,  as  well  as  the  circular  spots  for  other  lodges,  was  different. 
Straight-Old-Man  or  Straight-Pipe,  was  the  priest  who  conducted  or 
presided  over  former  lodges,  when  the  painting  was  red  on  the  south 
side  and  the  black  on  the  north.  The  painters  began  on  the  right 
with  the  black  paint,  and  then  continued  on  the  left  with  the  red 
paint.  By  this  symbolism,  the  people  were  in  sympathy  with  the  sun, 
and  therefore  lived  in  peace  and  prosperity.  The  black  paint  meant 
victory  over  all  kinds  of  enemies — people,  famine,  plague — and  typifies 
the  methods  and  ways  of  the  tribe. 

"The  fundamental  principle  of  the  red  on  the  south  and  the  black 
on  the  north  was  in  accordance  with  the  course  of  the  sun  and  moon — 
the  sun  travels,  as  is  seen  every  day,  followed  by  the  moon.  Red 
paint  typifies  purity,  holiness,  virtue,  meekness,  and  prosperity; 
because  the  sun  bears  that  paint;  while  the  moon's  light,  being  dim, 
leads  to  all  kinds  of  mischievous  actions  and  deeds  being  committed. 
In  the  night,  the  various  doings  of  the.  people  are  not  known.  The 
black  paint  relates  to  temporal  blessings. 

"This  old  man  or  priest  got  his  name  from  the  fact  that  he  was  a 
straight  man  in  ways  and  actions  ("Straight-Pipe").  Following  him 
came  a  priest  named  Fire-Wood,  who  was  the  oldest  of  the  Sun  Dance 
priests.      He  had  a  quiet  consultation  with  his  fellow-men  regarding 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  125 

the  painting  of  the  Offerings-lodge.  Straight-Old-Man,  or  Straight- 
Pipe,  had  died,  and  had  left  some  good  legends  and  traditions  for 
the  tribe;  but  the  original  painting  was  criticised  by  Fire-Wood. 
Finally,  after  long  dispute  over  the  painting,  Fire-Wood  won,  giving 
the  reason  that  the  right  hand  was  the  protective  element  of  man,  that 
a  man  strikes  with  his  right  hand,  shoots  with  his  right  fingers,  etc. ; 
therefore,  whenever  the  tribe  overpowers  its  foe  in  war,  there  is  a 
victory  in  which  the  black  paint  is  used.  When  a  man  gets  to  be  quite 
old,  he  wears  the  black  paint  together  with  the  red,  to  show  that  he 
has  passed  many  hardships  and  has  become  victorious  in  that  sense; 
that  the  left  hand,  being  the  gentle  part  of  man,  and  receiving  things 
when  given,  was  the  right  and  proper  side  for  red  paint.  Red  paint 
meant  good  will  and  a  weapon  against  plagues;  therefore  the  painting 
was  changed  to  be  like  this:  that  red  was  worn  on  the  north  or  left 
side  and  black  on  the  south  or  right  side,  and  painters  began  to  paint 
at  the  southeast  corner  and  continued  to  the  northeast  corner,  or  in 
other  words,  in  a  sunwise  circuit.  Since  that  time,  when  Fire-Wood 
altered  the  painting,  it  has  been  kept  as  he  arranged  it." 

THE  DISTRIBUTION  OF  PRESENTS. 

The  priests  and  those  who  were  to  fast  and  dance  in  the  cere- 
mony now  formed  in  line  inside  the  lodge,  while  Hawkan  uttered  the 
following  prayer: 

hawkan's  prayer. 

"The  Father,  Man- Above,  has  promised  his  blessings  and  pros- 
perity. We  now  feel  thankful  for  this  lodge,  and  pray  that  the  Man- 
Above  will  keep  these  dancers  in  the  straight  path,  will  increase  our 
population,  cause  us  to  live  in  peace." 

All  those  who  had  assisted  prominently  at  any  time  during  the 
ceremony,  formed  in  a  large  semicircle  on  the  southeast  side  of  the 
lodge,  whereupon,  Debithe,  acting  as  grandfather  of  the  Lodge- 
Maker,  distributed  presents  in  return  for  the  assistance  of  the  workers 
in  aiding  him  to  erect  the  lodge. 

THE  DISTRIBUTION  OF  PRESENTS,  1902. 

After  the  completion  of  the  altar  came  the  time  of  the  payment  of 
the  priests  for  the  work  which  had  been  done  in  the  Rabbit-tipi  and 
in  connection  with  the  erection  of  the  Offerings-lodge  and  of  the  altar. 

It  has  already  been  related  how  the  Lodge-Maker,  Niwaat,  and 
his  associate  made  the  round  of  the  camp-circle  collecting  goods  with 
which  to  compensate  the  priests  for  their  labors  in  preparing  the  lodge 


126       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

for  them.  It  has  been  noted  also  that  the  bales  and  trunks  of  cloth- 
ing, as  a  result  of  their  efforts  on  that  morning,  had  been  kept  near 
the  Rabbit-tipi  during  the  daytime,  and  within  at  night,  and  had  on 
the  abandonment  of  the  Rabbit-tipi,  been  removed  to  the  Offerings- 
lodge,  where  they  remained  in  the  southwest  and  near  the  center-pole. 

The  dancers  were  at  this  time  all  present,  occupying  their  usual 
positions  around  the  western  half  of  the  lodge.  The  priests  formed 
in  one  long  fine  in  front  of  the  dancers  and  in  the  southwest  portion 
of  the  lodge.  H6cheni,  at  the  head  of  the  line,  sat  just  to  the  south 
of  the  buffalo  skull.  Then  came,  in  order,  Nishchdnakati,  Watanah, 
Watangaa,  Wasas  (Osage),  Nakadsh,  Waakat'ani,  Debithe,  Chanitoe, 
Hdwkan,  Cheathea,  Wadnibe,  Watdngaa's  wife,  and  Nishnat^yana's 
wife. 

Nishnat^yana  took  the  bales  and  placed  them  in  line  in  front  of 
the  priests.  Stepping  up  to  Hdwkan,  he  prayed  over  him,  that  he 
might  be  guided  aright  in  the  disposition  he  was  to  make  on  behalf 
of  Niwaat,  the  Lodge-Maker,  of  this  great  collection  of  calicoes  and 
blankets.  He  then  untied  the  four  bales  and  opened  the  blankets. 
Again  he  spoke,  addressing  the  priests,  and  said  that  his  grandson, 
Niwaat,  greatly  appreciated  the  kindness  of  the  whole  tribe  toward 
him,  and  that  he  was  satisfied  with  what  they  had  given  him,  and  that 
he  hoped  the  priests  would  feel  that  they  had  received  some  compen- 
sation for  their  labors. 

Nishnat^yana  now  sorted  out  the  goods  into  piles,  which  he  began 
to  distribute  along  the  line,  beginning  with  his  wife  at  the  eastern  end. 
Occasionally  he  would  add  a  blanket  or  a  piece  of  clothing  to  the  pile 
which  he  began  near  the  center-pole,  and  which  was  for  himself;  while 
near  by  he  made  two  additional  piles  that  were  to  be  given  to  the  two 
messengers  or  servants,  who  had  assisted  so  faithfully  at  the  Rabbit- 
tipi.  At  the  conclusion  of  the  division  of  the  goods,  he  again  turned 
to  the  priests  and  said,  "I  give  you  these  things  for  helping  my  grand- 
children and  myself."  The  goods  were  carried  out  by  the  women, 
who  took  them  to  their  homes. 

It  may  be  added  at  this  place,  that  shortly  before  the  distribution 
of  the  presents,  a  trunk  containing  blankets  was  brought  into  the 
lodge.  This  was  part  of  the  payment  on  the  part  of  Watangaa  and 
his  wife,  to  Hdwkan,  for  instruction  and  for  privileges  which  he  at  that 
time,  and  during  the  entire  ceremony,  was  giving  them;  for  it  has 
already  been  pointed  out  that  Watdngaa  was  desirous  of  obtaining  the 
power  to  conduct  the  rites  of  the  Sun  Dance.  It  may  also  be  noted 
that  all  knives,  axes,  etc.,  used  during  the  ceremony,  became,  by 
custom,  the  property  of  Hdwkan, 


PL.  LXIII.   The  Feast  for  the  Grandfathers.    Fourth  Day,  1901. 


Fig.  I.    Wives  of  the  dancers  bringing  food  into  the  Offerings-lodge. 
Fig,  2.    Niwaat,  making  the  offering  of  food  to  Young-Bull. 


imi^liSliSw^' 


PL.  LXIV.    The  Sacrifice  of  Food.   Sixth  Day,  1902. 


Fig.  I.     Niwaat  offering  food  to  the  first  of  the  Four-Old-Men. 
Fig.  2.    Niwaat  offering  food  to  the  first  of  the  Four-Old-Men, 


■^ 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  127 

EXPENSE  OF  MAKING  THE  OFFERINGS-LODGE. 

To  form  a  correct  estimate  of  the  total  expenses  incurred  by  the 
Lodge-Maker  of  the  Sun  Dance  is  not  easy.  It  seems  probable,  how- 
ever, that  it  costs  him  from  three  hundred  to  five  hundred  dollars,  in 
money  and  goods,  before  the  ceremony  is  concluded.  Of  course  he 
is  aided  by  his  relatives  and  especially  by  the  tribe.  Payment  is 
made,  as  we  have  just  seen,  to  the  grandfather,  and  to  the  Rabbit- 
tipi  people,  i.  e.,  to  those  who  assisted  in  making  and  painting  various 
objects  and  in  performing  certain  rites  in  the  Rabbit-tipi. 

THE  FEAST  AND  SACRIFICE  OF  FOOD. 

It  was  now  about  half-past  three  in  the  afternoon,  and  all  prelimi- 
nary arrangements  had  been  completed  for  the  beginning  of  the  cercr 
mony  proper.  The  people  began  to  gather  in  great  numbers  about  the 
lodge,  the  female  relatives  of  those  who  were  to  fast  bringing  in  large 
quantities  of  food,  which  was  placed  west  and  south  of  the  center-pole, 
the  dancers  having  seated  themselves  in  front  of  their  grandfathers, 
who  were  in  a  row  at  the  south  and  west  side  of  the  lodge.  (See  Fig. 
I,  Plate  LXIII.) 

Thihauchhawkan,  who  sat  on  the  end  of  the  line  of  the  dancers 
nearest  the  altar,  after  all  the  food  for  the  feast  had  been  brought  in, 
took  a  pinch  of  food,  arose,  and  looked  up  toward  those  beams  which 
bore  the  black  and  red  paint,  beginning  first  with  the  one  on  the 
southeast,  and  asked  a  blessing  of  each  one  of  the  Four-Old-Men, 
dropping  as  he  did  so,  a  piece  of  food.  Then  he  leaned  over  the 
excavation  and  passed  his  hands  over  it  four  times,  and  deposited  a 
■piece  of  food  in  front  of  the  skull  for  the  Man-Above.  He  then  went 
to  H6cheni  and  gave  him  a  bunch  of  sage,  whereupon  he  walked  to  a 
spot  under  the  southeast  black-painted  beam,  then  in  a  dextral  circuit 
to  the  other  three  beams,  where  he  invoked  the  aid  of  each  of  the 
Four-Old-Men,  and  he  proceeded  to  the  altar,  where  he  passed  the 
sage  up  toward  the  skull  four  times,  and  then  spread  it  out  in  the  bot- 
tom of  the  excavation,  thus  covering  the  red  and  black  paint.  He 
returned  to  his  position  in  the  line. 

One  of  the  dancers  arose,  and  taking  a  pinch  of  dog  meat,  passed 
beneath  each  of  the  four  painted  beams ;  under  each  one  he  stretched 
his  hand  upward  and  dropped  a  pinch  of  food  on  the  ground.  (See 
Plate  LXIV.)  He  then  went  to  the  excavation  and  passed  his  hand 
up  toward  the  skull  four  times,  rubbed  his  hands  together,  and 
deposited  what  remained  of  the  food  in  under  the  seven  semicircular 
sticks   which   stood  in    the    excavation.     (See  Fig.  2,  Plate   LXIII.) 


128       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

Hitantuh,  another  of  the  dancers,  then  went  through  the  same  per- 
formance. 

During  this  time  considerable  fervor  was  shown  on  the  part  of  the 
women  and  among  the  crowd  of  spectators,  and  among  those  who  had 
brought  in  the  food,  by  their  shouting.  The  priests,  '  grandfathers,' 
and  singers  now  ate  their  dinner,  which  had  been  so  liberally  provided, 
during  which  time  the  best  of  feeling  was  shown.  At  the  conclusion 
of  the  meal,  H6cheni  cried  out,  asking  the  women  to  come  forward 
and  remove  what  remained  of  the  feast. 

CEREMONIAL  SMOKING. 

Thihauchhawkan  now  arose,  received  from  H6cheni  a  pipe,  which 
he  carried  to  the  fireplace  and  lighted,  carrying  it  back  to  Hocheni. 
As  the  latter  received  the  pipe,  he  blew  puffs  of  smoke  to  the  four 
directions,  and  then  passed  it  on  in  the  line.  Then  the  second  of  the 
dancers  lighted  his  pipe  and  passed  it  to  Hocheni,  who  smoked  it  and 
passed  it  along.  The  other  dancers  now  in  turn  lighted  their  pipes 
for  the  grandfathers,  for  it  is  the  privilege  of  the  grandfathers  to 
call  for  a  pipe  at  any  time  during  the  ceremony,  and  it  is  the  duty  of 
the  dancer  to  have  a  pipe  ready  for  this  purpose. 

Inasmuch  as  this  preparation  of  the  pipe  is  performed  many  times 
throughout  the  ceremony,  and  generally  in  a  uniform  manner,  a  single 
detailed  description  will  suffice.  The  dancer  takes  up  his  pipe,  which 
he  has  by  his  side,  and  fills  it  from  a  buckskin  bag  with  native  tobacco. 
He  then  passes  the  pipe  to  Hocheni,  who  holds  it  out  in  front  of  him 
in  his  right  hand,  with  the  stem  pointing  downward.  The  dancer  then 
puts  his  left  hand  under  Hdcheni's  right  hand,  and  with  his  right  hand 
makes  a  downward  motion  on  Hocheni's  right  arm,  from  the  shoulder 
to  the  tips  of  his  fingers.     This  he  does  four  times. 

The  same  performance  is  repeated  whenever  any  one  of  the  dan- 
cers receives  a  pipe  from  Hocheni  for  the  purpose  of  taking  it  over  to 
the  fire  to  light  it.  Whenever  the  lighted  pipe  is  handed  to  H6cheni 
he  points  the  end  of  the  stem  toward  the  earth,  then  takes  a  few  puffs 
and  blows  the  smoke  upward.  Then  he  points  the  stem  to  the  earth 
again,  then  toward  the  center-pole,  then  toward  the  north,  then  toward 
the  south,  then  to  the  sun,  and  finally  toward  the  earth. 

After  the  pipe  has  gone  down  and  back  the  line  of  the  grand- 
fathers, or  at  other  times,  it  was  passed  to  Hocheni  for  cleansing,  he 
removed  the  contents  of  the  bowl  with  a  hard  wooden  tamper  and 
placed  the  ashes  upon  the  ground,  by  which  act  he  cleansed  the  faults 
of  the  owner  of  the  pipe,  and  at  the  same  time  expressed  the  wish,  by 
putting  his  hands  over  the  ashes  and  by  putting  them  on  the  ground. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  129 

that  the  young  man  and  his  people  should  live  as  long  as  the  world 
should  last.  He  then  takes  the  pipe  in  his  left  hand,  holding  it  by  the 
bowl,  and  rubs  his  right  hand  four  times  from  one  end  of  the  pipe  to 
the  other,  beginning  with  the  bowl  and  ending  at  the  mouth  of  the 
stem.  He  then  passes  the  pipe  to  his  right  hand,  and  with  his  left 
hand  makes  a  similar  motion  four  times.  Then,  holding  the  pipe 
straight  in  front  of  him,  he  begins  to  rub  the  pipe  with  each  hand 
from  the  bowl  to  the  end  of  the  stem,  the  stem  pointing  toward  him, 
four  times.  The  pipe  is  now  ready  to  be  returned  to  the  owner.  The 
owner  kneels  in  front  of  Hocheni,  or  stands  by  his  side,  while  Hocheni 
holds  the  pipe  with  both  hands,  shifting  it  from  his  right  to  his  left 
side  twice. 

The  various  participants  in  the  ceremony  now  place  themselves  in 
proper  position,  ready  to  make  preparations  for  the  ceremony  proper. 
At  the  southeast  corner  and  near  the  wall  of  the  lodge  were  the  grand- 
fathers. Just  in  front  and  a  little  to  their  left,  was  the  line  of  the 
dancers  with  Thihduchhdwkan,  the  Lodge-Maker,  on  their  right  or 
north  end,  and  nearest  the  altar.  In  front  of  the  altar  and  to  the  west 
of  the  center-pole  were  the  five  more  prominent  priests  in  a  semi- 
circular line,  H6cheni  occupying  the  south  end  of  the  line,  the  other 
four  being  Watdngaa,  Waakatdni,  Debithe,  and  Chanitoe. 

CEREMONIAL  SMOKING,  1902. 

Although  this  rite  has  just  been  described  at  some  length  for  the 
performance  of  the  preceding  year,  there  were  yet  one  or  two  points 
noted  in  the  second  ceremony,  which  should  be  mentioned:  Whereas, 
in  the  1901  performance,  only  Hocheni  could  perform  certain  rites 
incidental  to  the  ceremonial  smoking,  this  privilege  this  year  was  pos- 
sessed also,  for  reasons  already  given,  by  Nishchanakati  and  Hanake- 
baah  (Bull-Thunder.) 

Whereas  all  the  dancers  in  the  performance  of  1901  carried  pipes, 
and  each  had  his  own  grandfather,  in  the  second  performance,  owing 
to  the  large  number  of  dancers,  only  certain  ones  or  leaders,  had  pipes. 
As  each  grandfather  called  for  his  pipe,  the  leading  dancer  of  that  group 
would  take  his  pipe  to  one  of  the  three  above-named  priests,  who  re- 
ceived it  from  the  dancer  and  pointed  with  the  bowl  upright  toward  the 
tree  and  toward  the  earth,  having  first  removed  from  the  pipe  a  small 
pinch  of  tobacco,  which  he  placed  on  the  ground  in  front.  He  then  held 
the  pipe  with  both  hands  with  the  stem  on  the  ground,  and  held  it  in 
this  position  until  the  dancer  removed  it.  This  the  latter  did  by  placing 
his  left  hand  over  those  of  the  priest  upon  the  stem,  rubbing  his  right 
hand  once  down  the  right  arm  of  the  priest,  grasping  the  right  hand 


I30       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

of  the  priest  as  it  held  the  pipe,  while  the  latter  motioned  it  to  the 
dancer  four  times,  whereupon  he  took  it  to  the  fire  and  lighted  it  and 
turned  to  the  priest,  who  made  similar  motions  with  the  pipe,  which 
was  then  passed  along  the  line  of  priests  unsmoked,  to  the  eastern 
end,  where  it  was  smoked  four  times  and  was  then  passed  back  toward 
the  west  end  of  the  line,  each  man  taking  four  puffs.  The  pipe  was 
then  returned  unsmoked  to  the  priest  to  whom  it  was  originally  pre- 
sented, who  tamped  it  four  times  after  making  a  ceremonial  pass  for 
each  of  the  four  directions  on  the  bowl,  then  in  the  center;  he  emptied 
the  ashes  and  tamped  three  additional  times  without,  however,  making 
the  five  passes  toward  the  bowl.  The  pipe  was  now  reversed  with  the 
point  of  the  stem  resting  upon  the  ashes.  Holding  it  in  his  left  hand,  he 
rubbed  down,  from  the  bowl  toward  the  ground,  with  his  right  hand, 
finally  placing  the  palm  of  this  hand  directly  upon  the  ground.  The 
pipe  was  then  transferred  to  the  other  hand,  and  so,  back  and  forth, 
until  each  hand  had  rubbed  the  pipe  twice.  The  pipe  was  then  held 
so  that  the  point  of  the  stem  was  directed  toward  himself,  and  he 
rubbed  it  with  his  two  hands  alternately  back  toward  his  body.  The 
pipe  was  again  stood  on  end  with  the  stem  downward,  the  bowl  point- 
ing backward,  whereupon  the  owner  received  it  from  the  priest,  as  he 
did  when  about  to  light  it;  now,  however,  holding  it  first  on  his  right 
side,  then  on  his  left,  repeating  this  movement  twice,  and  then  direct- 
ing it  at  the  center  of  his  breast.  The  owner  now  carried  his  pipe 
with  him  and  sat  down  in  his  proper  place  in  the  line  of  the  dancers. 

THE  DANCERS  PAINTED. 

The  time  has  now  come  for  the  grandfathers  to  paint  the  dancers. 
On  the  removal  of  the  food  from  the  lodge  by  the  wives  of  the  dancers, 
they  returned,  bringing  with  them  several  buckets  of  water  and  many 
bunches  of  sage.  The  sage  was  placed  to  soak  by  the  dancers  in  the 
buckets  of  water,  in  the  following  manner:  Great  care  was  taken  to 
place  the  first  bunch  at  the  southeast  corner  of  the  bucket,  the  second 
at  the  northeast  corner,  the  third  at  the  northwest  corner,  the  fourth 
at  the  southwest  corner,  and  the  fifth  they  thrust  down  in  the  center 
of  the  bucket;  there  were  thus  five  bunches  placed  in  each  bucket. 
The  Crier  now  called  for  wood,  and  a  fire  was  soon  kindled  above  the 
ashes  of  the  fire  of  the  preceding  night.  Whereupon  Wandkayl  made 
his  war  speech  as  he  added  one  stick  after  another.  The  dancers  now 
completely  disrobed  except  for  the  loin-cloth  and  blanket,  and  one  after 
another  resumed  his  position  in  front  of  his  grandfather,  sitting  on 
sage.     With   the  bucket  of  water  in   front  of   him,  the  grandfather 


FIELD  COLUMBIAN    MUSEUM. 

ANTHROPOLOGY,  PL.  LXV. 

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Pl.  LXV.    Painting  the  Dancers.    Fourth  Day,  1901. 


Fig.  I.    The  dancers  receiving  the  preliminary  paint. 

Fig.  2.     Dancers  drying  and  warming  themselves  about  the  fire,  after  having 
been  painted. 


Pl.  LXVI.    Before  the  Beginning  of  the  Dance.    Fourth  Day,  1901. 


Fig.  I.    Dancer  being  painted  by  grandfather. 

Fig.  2,     Members  of  the  Star  society  acting  as  musicians. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  131 

removed  the  sage  from  the  water,  passed  it  up  the  side  of  each  leg  of 
the  dancer,  and  on  up  the  sides  of  his  body  to  the  head,  and  then 
down  to  the  center  of  the  breast,  where  he  gave  the  sage  a  rotary 
motion.  Then  the  dancers  turned  their  backs  to  the  grandfathers  and 
the  tip  of  the  sage  was  passed  up  their  backs,  over  their  shoulders,  to 
the  tops  of  their  heads. 

The  dancers  rose,  leaving  their  blankets  behind  them,  and  stepped 
out  in  front  nearer  the  center-pole  and  thoroughly  scrubbed  their 
entire  bodies,  including  their  faces,  with  the  sage.  Several  of  the 
dancers,  beginning  with  Thihauchhawkan,  now  knelt  down  in  front  of 
Hawkan  and  Watdngaa,  with  their  knees  drawn  up  to  their  chins. 
Hawkan  then  passed  the  tips  of  his  fingers,  beginning  at  the  feet,  up 
the  outside  of  the  legs  and  arms,  on  up  to  the  head  of  each  dancer, 
first  rubbing  his  hands  together  five  times.  The  dancer  then  turned, 
and  Hawkan  made  a  similar  movement  up  the  back  of  each  one.  Watan- 
gaa,  who  had  been  mixing  the  paint,  gave  it  to  Hawkan,  who  passed 
it  to  the  dancer,  who  stepped  back  and  thoroughly  rubbed  his  body  all 
over  with  the  white  paint.  This  operation  was  now  repeated  with  the 
second  dancer,  and  with  the  third  and  fourth,  and  so  on,  the  third  one 
receiving  yellow  instead  of  white  paint. 

After  each  man  had  given  his  body  the  preliminary  coat  of  paint 
he  returned  to  Hawkan,  whereupon  the  latter  rubbed  his  hands 
together,  and  drew  a  line  with  the  second  finger  of  his  right  hand  in 
the  palm  of  his  left,  from  the  middle  of  the  second  and  third  fingers 
to  the  wrist.  Then  he  passed  the  tips  of  the  fingers  of  his  two  hands 
outside  of  the  body,  beginning  with  the  feet,  up  along  the  legs  and  the 
body,  to  the  top  of  the  head.  This  he  did  four  times,  the  second  time 
drawing  a  line  in  his  right  hand  with  the  second  finger  of  his  left. 
The  dancer  now  took  the  cup  of  paint  and  went  over  by  the  fire,  where 
he  rubbed  his  body  thoroughly,  including  his  face  and  hair.  When 
this  performance  had  been  gone  through  with  for  each  dancer,  and 
when  the  body  paint  had  become  thoroughly  dry,  each  returned  to  his 
individual  grandfather,  where  he  received  his  own  appropriate  paint. 
(See  Plate  LXV.)  In  general,  the  manner  of  procedure  was  similar  to 
that  employed  by  Hawkan,  the  dancer  squatting  or  kneeling  down  in 
front  of  the  grandfather,  who  generally  began  applying  the  paint  on 
his  legs,  then  on  his  hands,  breast,  face,  and  finally  upon  his  back. 
(See  Fig.  i,  Plate  LXVI.)  As  the  method  of  painting  was  practically 
the  same  for  each  dancer  on  this  and  on  the  following  days,  there 
need  be  no  further  description  of  this  element  of  the  ceremony.  Inas- 
much, however,  as  the  character  of  the  symbolism  painted  on  each 


132        Field  Columbian  Museum — Anthropology,  Vol,  IV. 

man,  as  well  as  the  color  of  the  groundwork  of  his  paint,  had  points 
of  individual  differences,  a  consideration  of  the  general  subject  of  the 
designs  may  be  deferred  until  later  on  in  this  paper,  where  the  subject 
will  be  treated  in  a  special  section. 

THE  DANCERS  PAINTED,  1902. 

After  the  ceremonial  smoke  just  described,  the  grandfathers  and 
the  dancers  went  over  to  the  east  side  of  the  lodge,  where  each  found  a 
bucket  of  water  and  bundles  of  sage.  The  sage  was  placed  in  the 
water,  as  has  already  been  described  for  the  preceding  year,  and  the 
dancers  washed  themselves.  (See  Plate  LXVII.)  Bundles  of  goods 
were  then  brought  by  the  female  relatives  of  the  dancers  and  were 
given  by  the  latter  to  their  grandfathers.  All  who  had  pipes  made 
the  sacrifice  of  food. 

After  the  feast,  the  dancers  returned  to  their  proper  positions, 
and  the  grandfathers  took  their  places  in  front  of  them,  and  the 
painting  was  begun.  Each  priest  rubbed  his  hands  with  the  paint, 
made  two  lines  in  the  palm  of  his  right  hand  and  one  in  that  of  his 
left  hand,  held  the  palms  over  the  incense,  and  drew  the  tips  of  his 
forefingers  over  the  dancer's  body,  beginning  with  the  feet.  Again 
he  would  rub  the  palms  of  his  hands  together,  dip  them  in  the  paint, 
rub  his  palms  together,  and  draw  two  lines  in  the  palm  of  his  left  hand 
and  one  in  the  palm  of  his  right  hand,  and  pass  the  tips  of  his  fingers 
up  over  the  body  of  the  dancer.  This  operation  was  repeated  twice; 
the  third  time,  the  two  lines  being  made  in  the  right  hand  and 
one  in  the  left,  and  at  the  fourth,  two  lines  in  the  left  hand  and  one 
in  the  right.  This  rite  is  termed,  "applying  the  poultice."  Each 
dancer  then  painted  himself,  including  his  hair,  with  the  particular 
color  of  the  paint  which  he  was  to  wear  on  that  day.  He  then  sat 
down  in  front  of  his  grandfather,  who  decorated  him  with  proper 
symbols.     (See  Plate  LXVIII.) 

After  this  rite,  each  dancer  brought  a  live  coal,  which  he  placed  in 
front  of  one  of  the  three  priests,  Hdcheni,  Nishchdnakati,  or  Hanak^- 
baah,  whereupon,  the  one  chosen  placed  cedar-leaves  upon  the  coal, 
held  both,  of  his  hands  over  its  rising  incense,  and  passed  them  over 
the  dancer's  head  and  shoulders,  placing  his  hands  finally  upon 
the  dancer's  feet  and  pressing  them  firmly  upon  the  ground.  The 
grandfather  then  placed  the  five  sage  bunches  in  the  belt  of  his  grand- 
child, first  making  four  passes  with  the  sage  before  it  was  placed  in 
position. 


Pl.  LXVII.    Dancers  Bathing,  Preparatory  to  Being  Painted.    Fifth  Day,  1902. 


PL   LXVIII.    Dancers  in  Front  of  the  Grandfathers  Receiving  "Poultice. 

Fifth  Day,  1902. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  133 

THE  DANCE. 

After  each  man  had  received  his  appropriate  paint,  he  fastened  a 
buckskin  kilt  around  his  loins.  The  folded  parfleche  which  had  been 
brought  into  the  lodge  from  the  Rabbit-tipi,  and  which  had  been  lying 
on  the  ground  on  the  east  side,  was  now  placed  in  front  of  Hawkan, 
while  the  rattle,  which  had  also  been  lying  by  the  side  of  the  parfleche, 
was  handed  to  him. 

The  Lodge-Maker  now  left  his  place  in  the  line,  went  over  to  the 
fire,  and  returned  with  a  live  coal,  which  he  placed  in  front  of  him, 
upon  which  he  sprinkled  spruce-leaves.  Then  he  knelt  down  in  front 
of  Watangaa.  While  he  was  doing  this,  the  singers  and  drummers  had 
gathered  around  a  large  drum  which  stood  east  and  south  of  the  center- 
pole  and  in  front  of  the  south  end  of  the  line  of  grandfathers.  They 
began  drumming  and  started  the  first  song.     (See  Fig.  2,  Plate  XLVI.) 

The  Lodge-Maker  took  up  the  parfleche  and  passed  it  toward  the 
live  coal  where  the  incense  was  rising,  passed  it  toward  the  coal 
four  times,  and  then  over  the  coal,  still  holding  it  out  in  front  of 
him,  but  to  his  left  side.  He  carried  it  around  the  lodge,  continuing 
to  the  south,  west,  north,  and  east  of  the  center-pole,  where  he 
brought  it  up  to  the  men  who  were  sitting  about  the  drum.  Here  he 
made  a  motion  as  if  he  would  throw  it  among  them,  four  times,  actu- 
ally passing  it  among  them  on  the  fourth  time.  As  it  fell  among  them, 
they  beat  upon  it  violently  and  shouted  and  began  the  drumming  and 
singing  of  a  new  song. 

The  five  old  priests  now  left  their  position  in  front  of  the  altar, 
and  took  a  place  near  the  fire,  where  they  sat  down  facing  south.  The 
dancers  arose,  faced  toward  the  north,  placed  the  eagle-bone  whistle 
in  their  mouths  and  began  dancing  and  whistling  to  the  time  of  the 
drumming  and  singing. 

As  has  been  above  noted,  the  dancing  motion  consists  merely  of  a 
slight  swaying  or  swinging  of  the  body,  with  a  slight  bend  at  the  knees 
and  at  the  back.  Barely  did  the  heel  leave  the  ground.  The  dancers 
stood  in  a  single  line,  the  Lodge-Maker  occupying  the  west  end  of  the 
line  as  usual,  and  now  standing,  as  he  will  hereafter  during  the  cere- 
mony, with  his  feet  upon  the  sage  in  the  excavation. 

Thus  they  danced,  with  slight  intermission,  on  this  night  until 
two  o'clock  in  the  morning,  although  the  night  grew  colder.  At  about 
ten  o'clock  in  the  evening  there  came  a  terrible  storm  of  rain  and  sleet 
and  snow.  About  midnight  the  ground  was  covered  with  snow  and 
sleet,  but  the  dancers  kept  bravely  at  their  task,  although  they  were 
barefooted  and  entirely  naked,  except  for  a  loin-cloth,  and  completely 
exposed  to  the  mercy  of  the  weather. 


134       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

THE  DANCE,  1902. 

All  being  in  readiness,  the  priests  again  formed  in  a  semicircle 
on  the  west  side  of  the  lodge  and  in  front  of  the  dancers.  Wadtana- 
kashi,  the  substitute  Lodge-Maker,  left  his  position  in  the  line,  went 
to  the  fireplace,  where  he  obtained  a  live  coal,  and  returned  to  the 
west  side  of  the  lodge,  where  he  sat  down,  south  of  the  skull,  placing 
the  coal  in  front  of  him.  Cedar-leaves  were  given  him  by  Hawkan, 
which  Waatanakashi  held  in  the  fingers  of  his  right  hand,  the  elbow 
of  which  rested  upon  his  right  knee.     (See  Plate  LXIX.) 

Five  songs  were  now  sung,  during  which  time  Waatanakashi  waved 
his  hand  back  and  forth  in  front  of  his  face,  on  his  right  side  during 
the  first  two  songs,  on  his  left  during  the  third  and  fourth  song,  ahd 
in  front  of  his  face  during  the  fifth  song.  He  dropped  the  leaves  on 
the  coal  (see  Plate  LXX.),  took  up  the  rawhide  and  placed  it  over 
the  incense,  carried  it  in  the  usual  fashion  (see  Plate  LXXI.),  and 
threw  it  among  the  drummers,  having  first  motioned  toward  them  four 
times.  During  this  rite  the  rattle  was  not  used,  nor  did  any  one  beat 
with  the  pipe-stem  upon  the  Badger-pack. 

The  musicians  now  began  the  Sun  Dance  songs;  each  of  the  dan- 
cers arose,  having  adjusted  his  kilt,  headdress,  and  whistle,  and  having 
a  piece  of  sage  in  his  right  hand.  The  dancing  was  continued,  at 
intervals,  throughout  the  remainder  of  the  day  and  far  into  the  night. 

FIFTH   DAY,  1901;   SIXTH   DAY,   1902. 

This  day  corresponds  to. the  sixth  day  of  the  1902  performance. 
The  number  and  succession  of  events  on  the  two  days  were  practically 
the  same,  except  that  in  the  second  performance  the  intrusive  dances 
given  in  the  ceremony  of  1901  were  omitted.  Such  intrusive  dances 
do  not  properly  belong  to  the  Sun  Dance,  and  have  no  regular  place 
in  the  list  of  rites. 

Under  ordinary  circumstances,  this  day  is  known  as  "Medicine 
Day,"  and  was  treated  as  such  in  the  second  performance.  The  dan- 
cers had  now  fasted  for  about  forty  hours,  and  it  was  supposed  that  by 
this  time  their  mind  was  in  proper  condition  to  be  susceptible  to  the 
influence  of  the  sun.  The  singing  and  dancing  of  this  day  was  of  a 
more  serious  nature  than  that  of  the  preceding  day.  The  dancers 
were  exhorted  to  be  of  a  reverent  frame  of  mind. 

It  may  be  mentioned  here,  though  the  observation  has  no  direct 
bearing  on  the  rites  of  this  day,  that  the  preceding  day  in  the  perform- 
ance of   1902  had  been  excessively  hot,  as  had  the  weather  for  many 


Pl.  LXIX.    Incensing  the  Rawhide.    Fifth  Day,  1902. 


Niwaat  in  position  behind  live  coal  and  waving  the  incense  in  his  right  hand, 
back  and  forth,  in  front  of  his  face,  to  the  accompaniment  of  the  singing  by 
Hdwkan  and  other  priests. 


;i 


PL.  LXX.    Incensing  the  Rawhide.    Fifth  Day,  1902. 


Niwaat  depositing  the  incense  on  a  live  coal,  at  the  conclusion  of  the  fifth 
song. 


Pl.  LXXI.    NiwAAT  Carrying  the  Rawhide  in  Sunwise  Circuit,  after  Being 
Incensed,  to  the  Musicians.    Fifth  Day,  1902. 


Pl.  LXXII.    The  Grandfathers  Making  the  Wrist  and  Ankle  Bands  for  the 
Dancers.    Sixth  Day,  1902. 


I       n 


Pl.  LXXIII.   Grandfathers  Passing  the  Wrist  and  Head  Bands  to  the  Dancers. 

Sixth  Day,  1902. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  135 

days  previous,  and  it  was  feared  by  the  priests  that,  should  the  excess- 
ive warm  weather  continue,  the  men  would  not  be  able  to  endure  until 
the  end.  Two  or  three  of  the  priests,  therefore,  were  heard  at  differ- 
ent times  on  the  preceding  day,  offering  prayer,  that  cooler  weather 
might  prevail.  This  fact  was  known  throughout  the  camp,  and  great, 
therefore,  was  the  joy  and  satisfaction  of  all  when  the  morning  dawned 
cloudy  and  cool  and  so  continued  throughout  the  day,  thus  affording  a 
much  needed  rest  to  all  the  members  of  the  camp. 

THE  SUNRISE   DANCE. 

The  ceremony  continued  on  this  day  in  a  manner  similar  to  that 
on  the  previous  morning.  Just  before  daybreak  the  dancers  formed 
in  line  and  accompanied  by  the  singing  of  members  of  the  Star  society 
they  faced  east,  and  danced  until  after  sunrise.  Then  the  spectators' 
scattered  to  their  various  lodges  for  breakfast,  while  the  dancers, 
wrapped  in  their  blankets,  huddled  around  the  fire,  for  there  was  two 
inches  of  snow  on  the  ground.  The  Crier  called  for  water,  which  the 
women  brought  for  the  dancers  to  bathe  themselves  with,  food  was 
provided  for  the  grandfathers  and  fresh  sage  and  paint  to  be  used  in 
painting  and  costuming  the  dancers.  After  the  painting,  they  danced 
at  intervals,  as  on  the  preceding  day.  ^ 

PREPARATION  OF  THE  SAGE  WREATHS  AND  BANDOLEERS. 

On  this  day  and  the  day  following,  in  both  the  1901  and  1902 
presentations,  the  majority  of  the  dancers  wore  certain  wreaths  of 
sage,  usually  around  the  head,  waist,  wrists,  and  ankles.  All  these 
accessories  to  the  dancers'  costumes  were  made,  in  both  years,  on  this 
the  second  day  of  the  dance  proper. 

As  a  rule,  the  sage  wreaths  were  made  by  the  grandfathers  of  the 
dancers  who  were  to  wear  them,  and  their  construction  was  devoid  of 
formality.  (See  Plates  LXXII.  and  LXXIII.)  Attached  to  the 
wreath  was  a  small  sprig  broken  from  the  cedar  tree  at  the  side  of 
the  altar,  and  an  eagle  breath-feather.  The  wreaths  were  bound 
together  and  held  in  place  by  means  of  strands  of  sinew. 

In  the  section  of  this  paper  which  treats  of  the  dancers,  it  will  be 
noted  that  in  the  1902  performance,  certain  men  wore,  in  addition  to 
the  usual  sage  ornaments,  bandoleers,  which  passed  over  the  left 
shoulder  and  under  the  right  arm.  These  bandoleers  were  made  on 
this  day,  in  one  of  the  tipis,  and  not  in  the  Offerings-lodge.  The 
bandoleers  were  made  by  Hanatchawdtant  (Black-Buffalo),  assisted 
by  WadtannihinSn  (Black-Man) ;  both  priests  fasted  throughout  this  day. 


136       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

Having  provided  themselves  with  the  necessary  material,  they 
placed  sage  on  the  ground  in  the  tipi  in  front  of  them,  upon  which 
they  placed  calico.  Upon  the  calico  they  laid  the  strips  of  otter  hide 
and  certain  feathers  and  other  materials  about  to  be  required.  Each 
one  now  touched  the  forefinger  of  his  right  hand  to  the  ground,  and 
then  to  his  tongue,  took  a  piece  of  sage  root,  from  which  he  bit  off  a 
small  portion,  spat  in  his  hands  five  times,  and  rubbed  himself  over 
the  head,  arms,  breast,  and  body.  Then  they  began  the  work  of  pre- 
paring the  bandoleers. 

Having  fashioned  the  otter  skin  in  proper  form,  seven  eagle  feath- 
ers were  attached  on  the  one  side,  together  with  eagle  breath-feathers 
stained  green  and  red,  and  pieces  of  yellow  woodchuck  hide.  At  the 
lower  side  of  the  bandoleer,  i.  e.,  at  the  point  which  was  to  hang  lowest 
on  the  body,  was  attached  a  white  ring,  about  two  and  a  half  inches 
in  diameter,  such  as  is  used  on  harness. 

Having  completed  the  construction  of  the  bandoleers,  the  two 
priests  passed  them  over  the  incense  produced  by  burning  sweet  grass 
on  live  coals.     HanSkenakuwu  (White-Buffalo)  then  made  a  prayer: 

HANAKENAKUWU'S    PRAYER. 

"Man- Above,  we  come  to  you  for  this  holy  ceremony,  as  we  wish 
to  fix  these  objects  as  your  servants  used  to  do.  We  are  poor  and 
humble  before  you.  Remember  that  we  are  young,  so  please  help  us 
to  make  these  things  to  be  used  to-day  for  your  comfort!  May  they 
look  good  to  the  eyes  of  the  people.  As  it  was  when  the  originator 
of  these  wreaths,  paints,  and  necklaces  gave  them  to  us,  so  now,  let 
it  be  pleasing  to  you!  May  the  sun  be  cool  for  the  dancers.  May  we 
go  back  to  our  homes  in  good  health !  Give  us  good  water  and  food ! 
Show  us  some  clouds  for  shade  over  the  dancers!" 

INTRUSIVE  CEREMONIES. 

On  the  afternoon  of  this  day  there  was  a  diversion,  in  the  nature 
of  certain  public  performances  which  were  held  in  a  large  temporary 
enclosure,  made  about  one  hundred  yards  to  the  east  of  the  lodge. 
The  dancing  here  was  largely  of  a  social  nature,  the  various  partici- 
pants dancing  for  the  amusement  of  their  societies,  and  especially  for 
their  visitors.  (See  Plate  LXXIV.)  Some  of  the  members  of  the 
visiting  tribes  also  danced  from  time  to  time.  There  were  many 
exchanges  of  presents,  such  as  ponies  and  calico. 


Pl.  LXXIV.    Intrusive  Performances.   Fifth  Day,  1902. 


Fig.  1.    Group  of  visiting  Cheyenne,  in  temporary  dance  structure  east  of 
the  Ofiferings-lodge. 

Fig.  2.     Kit-Fox  and  Star  societies  dancing  the  Crow  dance. 


f 


FIELD   COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,   PL.   LXXIV. 


sfej^^*  g^^ 


y 

ophHeii' 

"^"   -r--^ 

11. 

^    4k           ^ 

Pl.  LXXV.   The  Initiation  of  New  Chiefs.   Fifth  Day,  1901. 


Fig.  I.    Nishchdnakati  pronouncing  Bull-Bear  chief,  giving  him  the  new 
name,  White-Owl. 

Fig.  2.    Row-of-Lodges  proclaiming  Omaha  chief. 


m-i- 


I 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  LXXVI. 


FIG.  2. 


PL.  LXXVI.    The  Inauguration  of  New  Chiefs.    Fifth  Day,  1901. 


Fig.  I.    Chief  Niwalit  proclaiming  Wdtanah  chief,  presenting  him  with  pipe 
and  tobacco,  as  he  pronounces  his  new  name. 

Fig.  2.    Chief  Yellow-Horse  listening  to  the  speech  of  Chief  Row-of-Lodges 


4f             "^f 

t 

I 

1 

1 

i 

■]^M 

fc  ''• 

!® 

*3riHI^Ni^BS^BK  ^ 

\M    tSw^^^^'^ 

Pl.  LXXVII.    Name-Changing  Ceremony.   Sixth  Day,  1902. 


Fig,  I.    Hdcheni  about  to  pronounce  the  new  name. 

Fig.  2,    The  individual  just  renamed  receiving  the  pipe  from  Nishchdnakati. 


v/-^- ''vr- 


V'^K^ 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  137 

INAUGURATION  OF  NEW  CHIEFS. 
At  this  time  was  also  performed  the  ceremony  of  the  making  of 
chiefs.  In  this  performance,  an  old  chief,  and  sponsor  of  the  chief- 
to-be,  proceeded  to  the  open  space  recently  occupied  by  the  dancers. 
The  chief-to-be  turned  and  faced  the  old  chief,  who  addressed  to  him  in 
aloud  voice  a  speech  of  considerable  extent,  whereupon,  at  the  conclu- 
sion of  the  address,  he  handed  the  newly  elected  chief  a  pipe  and 
tobacco  bag,  and  pronounced  his  new  name,  which  concluded  the 
ceremony.  (See  Plates  LXXV.  and  LXXVI.)  Some  of  the  speeches 
made  at  this  time  were  of  unusual  interest  on  account  of  the  sentiment 
expressed.  Such  was  a  bit  of  a  speech  of  one  man,  which  was  some- 
what as  follows:  "My  friend,  you  are  about  to  be  made  chief.  You 
will  no  longer  be  a  common  man,  and  every  one  will  look  at  you;  you 
will  stand  on  a  high  place,  and  your  faults  therefore  will  be  clearly 
observed.  Do  not  let  this  dismay  you,  and  even  if  people  should 
laugh  at  you,  do  not  be  discouraged,  but  walk  straight  ahead  and  do 
the  best  you  can." 

NAME-CHANGING  CEREMONY,  1902. 
This  interesting  rite  was  performed  on  the  afternoon  of  this  day 
in  the  Offerings-lodge  for  several  individuals.  The  candidate  took  his 
pipe  to  either  Hdcheni  or  Nishchanakati,  who  arose,  lifted  the  pipe 
on  high  with  his  right  hand  and  a  piece  of  sage  in  his  left,  the  candi- 
date standing  in  front  of  and  with  his  back  to  the  priest.  (See  Fig.  i, 
Plate  LXXVII.)  The  priest  then  recited  the  ritual,  at  the  conclusion 
of  which  he  dropped  the  sage  as  he  pronounced  the  new  name.  The 
candidate  then  turned,  stooped  in  front  of  the  priest,  who  had  assumed 
a  sitting  posture,  and  received  from  him  the  pipe  after  the  usual  man- 
ner.    (See  Fig.  2,  Plate  LXXVII.) 

THE    lodge-maker's    PRAYER. 

An  interesting  incident  occurred  on  the  afternoon  of -this  day. 
While  the  dancers  were  in  line,  the  Lodge-Maker  left  his  position, 
walked  over  to  the  center-pole,  and  placing  his  arms  around  it,  he 
cried  long  and  earnestly,  praying  that  the  Father-Above,  and  the 
Four-Old-Men  would  support  him  and  his  fellow  dancers  and  be  with 
them  and  encourage  them  in  their  attempt  to  purify  themselves  by 
their  four-days'  fast.  The  dancing  continued  at  intervals  almost 
throughout  the  entire  night. 

MEDICINE   NIGHT. 
It  has  been  pointed  out  above  that  on  this  day,  in  the   1902  per- 
formance, the  men  were  exhorted  to  direct  their  thoughts  toward  the 
powers  above,   in  order  that  their  vows  might  be   more  completely 


138       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

fulfilled.  In  connection  with  this,  a  speech,  made  by  Hdwkan  to  all 
those  present  in  the  Offerings-lodge  (speaking  particularly  to  the 
grandfathers  and  the  dancers),  just  before  sundown,  is  of  considerable 
interest: 

"Listen,  my  young  people!  I  am  here  to  tell  you  that  this  is 
Medicine  Night.  From  this  time  on,  until  the  last  moment  of  the 
dance,  you  must  do  your  best  to  extend  your  gifted  powers  to  comfort 
and  relieve  your  grandchildren.  Set  your  thoughts  on  the  Gods  in 
the  Heavens.  Be  careful  not  to  omit  any  detail  of  the  painting. 
Tell  your  grandchildren  the  particular  place  that  they  must  look. 
Help  them,  and  give  them  things  to  attract  the  Supernatural  Beings. 
Let  every  one  come  into  the  lodge  and  keep  up  the  spirit,  and  sing 
the  songs  which  our  forefathers  used  to  sing.  You  know  what  this 
Medicine  Night  means.  Make  a  joyful  noise  for  us.  Give  music  to 
our  Father-Above. 

"Give  solemn  thoughts  to  your  Creator,  you  dancers,  and  don't 
think  about  water  or  food,  but  weep  to  him  by  holding  the  center- 
pole  in  your  mind.  The  old  folks  tell  us  that  this  lodge  is  hard  and 
tedious,  but  if  you  have  faith  you  will  gain  some  good.  Now,  friends, 
I  am  going  over  to  drink  some  water." 

The  meaning  of  Hawkan's  last  sentence  may  be  better  under- 
stood when  it  is  stated  that  he  also  had  kept  the  fast  with  the  dancers 
from  the  night  of  the  feast  at  the  break-up  of  the  Rabbit-tipi. 

There  is  a  considerable  amount  of  evidence  to  the  fact  that  in 
former  times  unbridled  license  prevailed  throughout  the  camp  on  this 
night,  which  was  taken  advantage  of  by  all,  as  it  was  considered  one 
of  the  rites  of  the  ceremony.  In  more  recent  years,  however,  this 
has  been  entirely  given  up.  The  occasion  is  still  seized,  however,  by 
the  younger  people  as  an  opportunity  for  courting,  and  it  is  safe  to 
assume  that  many  future  marriages  have  their  beginnings  on  this  night. 

SIXTH  DAY,  1901;  SEVENTH  DAY,  1902. 

This  corresponds  to  the  seventh  day  of  the  1902  performance, 
and  with  one  exception  the  number  and  succession  of  rites  during  the 
day  were  practically  the  same  for  both  years.  The  events  of  the  day 
followed,  practically  the  same  as  those  just  described  for  the  pre- 
ceding day,  except  that  at  the  conclusion  of  the  day's  performance 
there  occurred  the  interesting  rite  of  dancing  toward  the  setting  sun. 


Pl.  LXXVIII.    Women  about  the  Entrance  of  the  Offerings-lodge,  Singing  and 
Encouraging  the  Dancers.  .Sixth  Day,  1902. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  139 

THE  MORNING  DANCE. 

At  about  six  o'clock  on  this  morning,  the  Crier  was  heard  calling 
for  wood  for  the  fire,  and  especially  for  more  women  to  come  to  the 
lodge  to  assist  in  the  singing.  Again  the  men  faced  the  east,  and 
danced  and  whistled  until  the  sun  was  well  up.  As  this  performance 
continued,  from  time  to  time,  they  stretched  out  one  or  both  hands 
toward  the  east,  while  the  beginning  song  was  sung.  A  second  time 
the  Crier  called  for  the  women  to  bring  pails  of  water  and  sage,  while 
the  dancers  gathered  around  the  fire  and  smoked  informally.  When 
water  and  sage  had  been  brought,  and  the  sage  had  been  placed  in  the 
buckets  in  the  usual  ceremonial  fashion,  and  after  the  sage  had  been 
passed  over  the  bodies  of  the  dancers  as  on  the  previous  morning,  they 
washed  and  dried  themselves  before  the  fire,  and  returned,  sitting  down 
in  front  of  the  grandfathers,  whereupon  each  dancer  filled  a  pipe  for 
his  grandfather  to  smoke. 

THE  MORNING  DANCE,  1902. 

The  performance  in  1902  was  practically  the  same  as  on  the  cor- 
responding morning  of  1901.  It  was  observed,  however,  that  at  this 
time  the  Lodge-Maker  used  the  Wheel  handed  him  by  Nishnat^yana. 
As  the  dancing  and  whistling  continued,  the  Lodge-Maker,  from  time 
to  time,  extended  his  arm,  carrying  the  Wheel  out  in  front  of  him, 
drawing  the  hand,  finally,  up  even  with  the  head,  and  thus  making  a 
semicircular  motion.  This  continued  until  the  sun  actually  appeared. 
The  reason  for  the  performance,  so  it  was  claimed,  was  to  hasten  the 
appearance  of  the  sun. 

THE  FEAST  AND  SACRIFICE  OF  FOOD. 

Food  was  brought  in  large  quantities  by  the  women,  during  the 
time  that  the  pipes  were  being  passed  back  and  forth  among  the 
grandfathers  and  the  priests.  During  all  the  time  women  in  increasing 
numbers  gathered  about  the  entrance,  and  were  singing  and  encouraging 
the  men.  (See  Plate  LXXVIII.)  The  Lodge-Maker  then  took  a  pinch 
of  food  and  made  the  various  offerings,  as  on  the  two  preceding  days. 

It  was  noticed  on  this  morning,  that  as  he  stopped  in  front  of  the 
ditch,  he  first  rubbed  the  palms  of  his  hands  together,  crushing  food 
between  them,  and  then  placing  his  hands  together,  he  made  four 
motions  upward  toward  the  buffalo  skull,  and  then  deposited  the 
particle  of  food  under  the  arch  of  the  seven  semicircular  twigs. 
Then  the  grandfathers  and  the  chief  priests  began   to  eat,  while   the 


I40       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

dancers  gathered  about  the  fire  and  smoked.  By  this  time  the  sun 
had  come  out  and  the  weather  had  grown  perceptibly  warmer,  and  all 
were  correspondingly  happy.  The  lodge  at  this  time  was  almost 
crowded  with  people,  sitting  and  eating,  the  whole  forming  a  very 
busy  and  happy  scene.     (See  Plate  LXXIX.) 

THE  DANCERS  PAINTED. 

After  the  feast  the  women  gathered  up  such  food  as  remained  and 
went  outside  of  the  lodge,  where  they  formed  in  different  groups  and 
ate  with  their  friends.  In  the  mean  time,  the  Criers  were  calling  for 
this  and  that,  and  the  scene  was  indeed  a  busy  one.  Then  paint  was 
provided  by  the  women  for  the  grandfathers,  who  warmed  it  and  took 
up  their  positions,  with  the  dancers  in  front  of  them.  Then,  as  on  the 
previous  day,  the  Lodge-Maker  took  his  position  in  front  of  Hocheni. 
The  latter  began  to  rub  his  second  finger  on  the  palm  of  his  right 
hand,  as  before,  and  after  warming  his  hands  over  a  live  coal,  he 
passed  the  tips  of  his  fingers  from  one  extremity  of  the  Lodge-Maker's 
body  to  the  other.  He  then  rubbed  the  second  finger  of  his  right 
hand  down  the  palm  of  his  left  and  again  passed  his  hands  over  the 
outside  of  the  Lodge-Maker's  body,  the  same  operation  being  repeated 
twice  again.  The  Lodge-Maker  then  turned  his  back  to  Hocheni,  who 
smeared  the  paint  here  and  there  over  his  back.  The  Lodge-Maker 
then  went  over  to  the  fire,  where  he  painted  his  body  from  head  to 
foot  with  white  clay. 

As  fast  as  the  dancers  were  painted  they  dried  themselves  before 
the  fire.  In  the  mean  time,  several  priests  began  making  wreaths  and 
bands  of  sage  to  be  worn  by  the  dancers.  (See  Fig.  i,  Plate  LXXX.) 
This  completed,  the  dancers  returned  to  the  grandfathers  for  the  final 
paint.  At  this  time  also,  fresh  sage  was  put  in  the  ditch.  After  the 
dancers  had  been  painted  they  resumed  their  position  in  the  line,  but 
all  in  squatting  posture,  the  Lodge-Maker  having  his  feet,  as  usual, 
on  the  sage  in  the  ditch.  (See  Plate  LXXXI.)  The  paints  had  now 
been  passed  to  the  women,  who  had  removed  them. 

The  chief  priests,  including  Hocheni,  Hdwkan,  Chanitoe,  Waakat- 
dni,  and  Wadnibe,  formed  in  a  semicircular  line  in  front  of  the  dan- 
cers. The  Lodge-Maker  now  went  to  the  fireplace  and  brought  over  a 
live  coal,  which  he  placed  in  front  of  Hocheni,  placing  over  it  some 
spruce  leaves  which  had  been  handed  him  by  Hocheni,  and  then  drew 
about  him  his  buffalo  robe,  with  which  he  wrapped  himself  when  not 
being  painted  or  not  engaged  in  active  ceremony.  Hawkan  then 
uttered  a  prayer.  Hdcheni  took  up  a  rawhide  rattle,  which  he  held  in 
his  right  hand,  and  began  slowly  to  shake  it.     The  crowd  around  the 


wt» 


PL.  LXXIX.    The  Feast  and  Payment  of  the  Grandfathers  by  the  Relatives  of 
THE  Dancers.   Seventh  Day,  1902. 


Fig.  I.    Thiyeh  directing  the  placing  of  the  food  and  presents. 

Fig.  2.    Thiyeh  and  the  dancers  beginning  the  distribution  of  the  food. 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,   PL.  LXXIX. 


PL.  LXXX.    Incidents  in  the  Offerings-lodge.   Sixth  Day,  1902. 


Fig.  I.    The   grandfathers   making   sage  wreaths  and   head  bands  for  the 
dancers. 

Fig.  2.     The  Lime-Crazy  society  acting  as  musicians. 


FIEtD   COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,   PL.  LXXX. 


Pl.  LXXXI.    The  Dancers  Resting  after   Having  been  Painted,  NiwAAT  Sitting  in 

Front  of  the  Altar  with  his  Feet  upon  the  Sage  Floor  of  the  Ditch. 

Seventh  Day,  1902. 


FIELD   COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  LXXXII. 


Pl.  LXXXII.   Arapaho  Children  in  Native  Costume.    Seventh  Day,  1902. 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  LXXXIII. 


Pl.  LXXXIII.    Baihoh,  One  of  the  Dog-soldiers. 


Pl.  LXXXIV.    Priests  Resting  after   Painting  the  Dancers.   Seventh  Day,  1902. 


On  the  left,  Nakadsh;  in  the  center,  Watdngaa;  on  the  right,  Wcltanah. 


Pl.  LXXXV.    NiwAAT  AND  Waatanakashi,  after  Having  been  Painted:    Hocheni  on 
THE  Extreme  Left.   Seventh  Day,  1902.  . 


PL.  LXXXVI.   The  Line  of  Dancers.    Sixth  Day,  1901. 


Fig.  I.  The  dancers  whistling  toward  the  fork  of  the  center-pole;  in  front 
of  the  line  is  Henifinit. 

Fig.  2.  Dancers  resting:  His^haseh  called  to  the  front  of  the  line  to  receive 
a  present. 


PL.  LXXXVll.    The  Line  of  Dancers.   Sixth  Day,  1901. 


Fig.  I,     Niehhinitu,  dancing  toward  the  center-pole. 
Fig.  2.    Hisehaseh,  dancing  in  front  of  the  line. 


PL     LXXXVIl).     SOUTH    OR    LEFT    HALF   OF   THE    LINE   OF   DANCERS,  WHISTLING   TOWARD 

THE  Center-pole.   Seventh  Day,  1902. 


PL.  LXXXIX.    North  of  Left  Half  of  the  Line  of  Dancers,  Whistling  toward 
THE  Center-pole.   Seventh  Day,  1902. 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  XC. 


PL.  XC.    Dancing  with  the  Wheel.    Sixth  Day,  1901. 


Fig.  I.    The  Wheel,  which  has  just  been  passed  to  Thihduchhdwkan,  the 
grandfather. 

Fig.  2.    ThihduchhAwkan  weeping  for  mercy,  to  the  Wheel. 


PL.  XCI.    Dancers  Bathing,  Preparatory  to  Being  Painted.   Seventh  Day,  1902. 


PL.  XCII.    Dancers  Resting,  after  Being  Painted.    Seventh  Day,  1902. 

At  the  extreme  left  is  chief  Wdtanah  addressing  the  dancers,  praising  and 
encouraging  them. 


iMay,  1903.         The  Arapaho  Sun  Dance — Dorsey.  141 

drum  had  been  perceptibly  increased  in  size,  and  it  was  now  noticed 
that  many  of  the  musicians  and  spectators  wore  buckskin  shirts  and 
leggings,  while  the  majority  of  them  had  their  faces  painted  in  accord- 
ance with  individual  privileges.  (See  Plates  LXXXII.  and  LXXXIII.) 
The  drummers  now  struck  up  a  low  song,  whereupon  the  Lodge- 
Maker  took  the  rawhide,  and  holding  it  to  the  right  of  him  and  walk- 
ing in  a  stooping  posture,  he  carried  it  in  front  of  the  altar  to  the  west 
and  north  of  the  center-pole,  and  on,  around  to  the  drummers,  where 
he  made  a  motion  as  if  to  pass  it  among  the  drummers,  four  times, 
and  then  threw  it  among  them,  whereupon  they  shouted  vociferously, 
beat  upon  the  rawhide,  and  began  one  of  the  Sun  Dance  songs.  Then 
the  semicircular  line  of  priests  retired  to  various  positions  about  the 
lodge.  (See  Plate  LXXXIV.  and  LXXXV.)  With  the  beginning  of 
the  singing,  the  dancers  rose,  placed  the  whistles  in  their  mouths,  and 
began  dancing.  (See  Plates  LXXXVL,  LXXXVII.,  LXXXVIIL,  and 
LXXXIX.)  Waakatani  now  went  to  Hisehaseh,  who  was  standing  in 
front  of  the  line,  and  who  was  holding  in  each  hand  a  bunch  of  sage. 
After  four  passes  with  his  right  hand,  Waakatani  removed  these  from 
his  hands.  Debithe  then  went  back  behind  the  altar,  took  the  Wheel 
from  its  position,  brought  it  around  in  front,  passing  to  the  right,  and 
handed  it  to  the  Lodge-Maker.     (See  Plate  XC.) 

THE  DANCERS  PAINTED,   1902. 

An  interesting  variation  was  noted  this  day,  not  recorded  in  detail 
heretofore.  Before  the  completion  of  the  so-called  "poultice,"  each 
grandfather  went  to  Hocheni,  before  whom  he  knelt,  and  placed  his 
hands  upon  his  head.  In  this  position  he  uttered  a  prayer,  or  more 
properly  speaking,  supplicated  Hocheni  to  assist  him.  At  the  con- 
clusion of  the  performance,  the  grandfather  drew  his  hands  down  the 
arms  of  Hocheni,  and  then  held  his  hands  in  front  of  him,  palms 
upward.  Hocheni  now  touched  the  forefinger  of  his  right  hand  to  the 
ground,  touched  his  tongue,  took  a  bite  of  root,  and  with  his  finger 
motioned  five  times  in  the  palms  of  the  grandfather's  hands  in  the 
usual  ceremonial  manner.  He  then  spat  five  times  at  these  same 
points.  He  then  spat  to  the  right  and  left,  to  the  head  of  the  grand- 
father, and  in  his  hands,  which  he  rubbed  upon  the  man's  head.  Again 
he  spat  in  his  hands  and  touched  the  grandfather's  breast.  Hocheni 
next  took  a  root  from  his  mouth  and  placed  it  in  the  mouth  of  the 
grandfather.  The  painting,  with  accompanying  rites  then  followed, 
as  already  described.  (See  Plate  XCL  and  XCH.)  Before  the  begin- 
ning of  the  dancing  occurred  the  rite  of  passing  the  rawhide  over  the 
incense,  as  has  already  been  described  on  a  previous  occasion. 


142        Field  Columbian  Museum — Anthropology,  Vol.  IV. 

At  this  time  on  this  day,  in  the  performance  of  both  years,  evi- 
dence of  the  prevailing  good  feeling  and  generous  nature  of  the  tribe 
was  abundantly  shown.  Thus,  several  chiefs  made  encouraging 
speeches  to  the  dancers  (see  Fig.  i,  Plate  XCII.),  commending  them 
for  the  fortitude  shown  up  to  the  present,  and  encouraging  them  to 
continue  during  the  few  remaining  hours  of  the  dance. 

Many  of  the  old  married  couples  stood  up  by  the  side  of  the  drum- 
mers, and  in  the  presence  of  the  assembled  multitude,  embraced  and 
kissed,  while  H6cheni  stood  by,  encouraging  them  and  calling  the 
attention  of  the  young  people  to  the  blessings  of  married  life.  (See 
Fig.  2,  Plate  XCIII.)  The  musicians  were  also  praised  for  their 
devoted  attention  throughout  the  ceremony,  and  were  publicly  thanked 
by  Hdcheni  (see  Fig,  i,  Plate  XCIV.),  who  also  addressed  the  visiting 
Cheyenne  and  other  tribes,  thanking  them  for  their  presence. 

Many  presents  were  also  given  at  this  time;  the  customary 
method  of  procedure  being  for  the  donor  to  lead  into  the  Offerings- 
lodge  a  pony,  and  through  Hocheni,  make  known  that  he  wished  to 
present  a  pony  to  some  friend.  (See  Fig.  2,  Plate  XCIV.  an  i  Plate 
XCV.)  Presents  were  also  made  at  this  time  to  Naen,  who  left  her 
seat  behind  the  altar  and  stood  in  front  of  her  husband.  (See  Plate 
XCVI.) 

CEREMONY  WITH  THE  WHEEL. 

Now  begins  the  most  trying  part  of  the  ceremony;  for  in  addition 
to  the  pangs  of  hunger  and  thirst  and  exhaustion  which  the  dancers 
must  feel  by  this  time,  the  performance  with  the  Wheel  in  the  hands 
of  the  Lodge-Maker  is  an  unusually  solemn  moment,  heightened  by 
an  intense  religious  fervor,  increased  by  the  screaming  and  shouting 
of  the  women  and  the  encouraging  cries  of  the  men. 

It  is  the  wish  of  all  that  no  one  of  the  dancers  may  fall  from 
exhaustion  at  this  time.  The  singing  was  much  more  spirited  than  at 
any  other  time  during  the  ceremony,  and  more  force  was  put  into  the 
movement  of  the  dancers,  as  well  as  in  the  volume  of  noise  produced 
by  the  whistles.  From  time  to  time  the  Lodge-Maker  would  hold  the 
Wheel  up  toward  the  center-pole,  toward  which  all  now  looked.  (See 
Fig  I,  Plate  XCVIL)  Many  presents  were  brought  in  by  the  female 
relatives  of  the  dancers,  to  be  given  away  at  this  time.  At  times  the 
Lodge-Maker  seemed  overcome  with  emotion.  His  breast  heaved 
violently  and  his  face  was  contorted  into  violent  grimaces.  After  this 
had  continued  for  perhaps  twenty  minutes,  Debithe  arose  and  went 
behind  the  Lodge-Maker,  took  the  Wheel  with  both  hands,  and  raised 
it  up  over  the  Lodge-Maker's  head,  toward  which  he  made  four  passes, 
and  then  placed  the  Wheel  down  over  his  heard,  whee  it  rested  upon 


Pl.  XCIII.    Priests  Encouraging  the  Dancers.    Sixth  Day,  1901. 


Fig.  I.  Running-in-Circle  addressing  the  dancers;  behind  him  are  \Va- 
t^ngaa  and  Hocheni. 

Fig.  2.  Hocheni  praising  Hanatchawdtani  and  wife,  who  are  making  love 
as  a  lesson  to  the  young  people. 


Pl.  XCIV.    Encouraging  the  Dancers.   Seventh  Day,  1901. 


Fig.  I.    H6cheni  praising  the  musicians. 

Fig.  2.    Hocheni  making  announcements  for  Detenin,  who  is  about  to  give 
away  a  pony. 


Pl.  XCV.    The  Giving  of  Presents.    Sixth  Day,  1901. 


Fig.  I.     H6cheni  making  announcements  for  Little-Raven,  Jr.,  who  is  about 
to  give  away  a  pony  to  show  love  for  his  child. 
Fig.  2.    The  pony  being  led  away. 


^ 


Pl.  XCVI.     Naen,  Wife  of  Wa/(tanakashi,  in  Front  of  Line  of  Dancers,' Receiving 
A  Present.   Seventh  Day,  1902. 


Pl.  XCVII.    Ceremony  with  the  Wheel.    Sixth  Day,  1901. 

Fig.  I.    Thihduchbdwkan,  motioning  with  the  Wheel  toward  the  center-pole. 
Fig.  2.    Thihduchhdwkan  placing  the  Wheel  over  his  head. 


PL.  XCVIII.    Dancing  with  the  Wheel.   Seventh  Day,  1902. 

North  half  of  the  line  of  dancers,  with  Niwaat,  third  in  line  from  the  left, 
standing  in  the  ditch,  with  the  Wheel  in  his  right  hand. 

>  somc- 


the  L. 


,t  to  Chan^Tot,  w 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  143 

his  shoulders,  with  the  feathers  hanging  down  in  front.  (See  Fig.  2, 
Plate  XCVII.) 

All  the  dancers  now  had  sage  in  their  right  hands,  which  they 
raised  aloft  toward  the  center-pole  from  time  to  time,  stretching  the 
hand  out  straight  from  the  shoulder,  and  with  the  sage  pointed  straight 
toward  the  right.  (See  Plate  XCVIII.)  The  Lodge-Maker  now 
transferred  to  his  right  hand  a  buffalo  tail,  which  up  to  this  time  he 
had  been  holding  in  his  left  hand.  This  he  waved  and  shook,  as  did 
the  others  their  sage.  Still  the  singing  and  dancing  continued,  and 
with  increased  spirit.  Debithe  then  stepped  up  to  the  Lodge-Maker, 
removed  the  Wheel  from  his  head,  and  placed  it  on  a  limb  of  the  cedar 
tree,  which  projected  back  behind  the  skull. 

By  the  waving  with  an  outward  lifting  motion  of  the  Wheel  toward 
the  center- pole,  the  Lodge-Maker  calls  the  attention  of  the  Father, 
asking  him  to  look  down,  while  the  placing  of  the  Wheel  over  the 
Lodge-Maker's  head,  is  to  say,  "My  Grandfather,  I  take  on,  I  receive 
the  good  of  your  gift  for  myself  and  for  all." 

Ponies,  calico,  and  money,  still  were  being  given  away  by  the 
friends  of  the  dancers. 

As  on  previous  occasions  during  the  dancing,  Biba,  the  wife  of 
the  Lodge-Maker,  constantly  sat  behind  and  to  the  north  of  the  altar, 
being  wrapped  in  a  buffalo  robe.  The  grandmother  now  took  some- 
thing from  a  little  bag  which  she  carried  with  her,  put  it  in  her  mouth, 
spat  it  upon  the  palms  of  her  two  hands,  and  rubbed  her  head,  breast, 
and  arms.  Behind  the  buffalo  skull  was  now  placed  a  pile  of  calico  as 
an  offering,  on  the  part  of  some  individual,  to  the  Wheel. 

PREPARATION   OF   THE  SWEET-WATER. 

One  of  the  women  now  brought  into  the  lodge  a  white  wooden 
bowl  about  two  feet  in  diameter,  together  with  a  knife  and  an  axe, 
whereupon  Hawkan,  Watangaa,  and  the  Lodge-Maker  went  around 
behind  the  buffalo  skull,  where  Bech^aye  joined  them.  She  leaned 
over  Hawkan  and  uttered  a  prayer,  whereupon  they  arranged  them- 
selves in  the  form  of  a  circle.  Two  of  the  men  now  cleared  away  a 
circular  bit  of  ground,  about  a  foot  in  diameter,  just  back  of  the  buf- 
falo skull.  Debithe  now  joined  the  circle,  bringing  a  bucket  of  hot 
water  and  a  long-handled  spoon  of  mountain  sheep  horn.  Debithe 
passed  the  stem  of  the  straight-pipe  to  Hdwkan,  who  arose  and  asked 
that  the  singing  and  dancing  cease,  whereupon  the  dancers  sat  down. 
Watangaa  passed  a  bag  of  red  paint  to  Chanitoe,  who  opened  it  and  thor- 
oughly mixed  a  piece  of  tallow  with  it.  Watangaa  then  passed  to  him  a 
bag  of  black  paint,  whereupon  this  also  was  mixed  with  tallow.   Hawkan 


144       Field  Columbian  Museum — Anthropology,  Vol.  IV, 

gave  to  Watdngaa  a  piece  of  root,  which  he  placed  in  his  mouth,  and 
after  chewing  it  a  moment,  spat  upon  his  hands,  which  he  rubbed  over 
his  head.  Some  small  pieces  of  this  root  were  passed  to  the  other 
members  of  the  circle.  Hdwkan,  with  his  pipe-stem,  made  four  passes 
toward  the  eaith,  and  next  indicated  a  semicircular  space  to  Wadnibe, 
then  the  latter  took  an  axe,  and  made  four  passes  at  each  corner  of 
the  indicated  space,  and  one  in  the  center.  The  axe  was  then  passed 
to  Bech^aye,  who  did  the  same.  They  began  digging  with  the  axe, 
loosening  the  earth.  Watangaa  and  Chanitoe  continued  the  work  with 
knives,  making  an  excavation  about  a  foot  in  diameter  and  four  inches 
deep,  the  dirt  being  placed  in  a  blanket,  which  was  lying  between 
Wadnibe  and  Hawkan.  When  they  had  finished  the  excavation, 
Wadnibe  deposited  the  dirt  at  the  foot  of  the  center-pole.  The 
bucket  of  hot  water  was  then  passed  in  near  the  excavation. 

A  bag  of  pounded  red  berries  and  one  of  pounded  herbs  was 
opened.  Hdwkan  took  the  bag  of  pounded  berries,  and  taking  a  pinch 
in  his  hand  dropped  a  little  in  the  southeast  corner,  then  in  the  south- 
west corner,  and  so  on  around  the  edge  of  the  pail,  his  assistants 
following  his  example,  until  the  sack  was  entirely  emptied.  Hdwkan 
took  up  the  sack  of  pounded  roots,  and  as  before,  gave  a  pinch  to 
each  of  the  assistants,  whereupon  all  repeated  the  preceding  perform- 
ance until  the  pounded  root  was  all  placed  in  the  pail. 

Watdngaa  handed  Hdwkan  the  large  spoon,  whereupon  the  latter 
told  Watdngaa  how  to  use  it.  The  latter  dipped  up  a  tiny  portion  of 
the  liquid,  thrusting  the  spoon  first  on  the  east  side,  second  on  the 
south,  third  on  the  west,  and  finally  on  the  north  side.  The  spoon 
was  now  passed  to  Wadnibe,  who  did  the  same,  then  to  the  Lodge- 
Maker,  then  Chanitoe,  and  so  on  around  the  circle,  the  spoon  being 
passed  in  a  dextral  circuit.  As  the  spoon  was  dipped  in  the  central 
portion  by  each  one,  after  the  four  corners  had  been  disturbed,  it  was 
noticed  that  considerable  more  of  the  liquid  was  taken  up  at  this  point 
than  at  the  corners.  When  the  spoon  finally  came  to  Wadnibe,  she 
thrust  the  spoon  to  the  bottom.  All  this  time  the  dried  berries  and 
herbs  were  being  thoroughly  mixed  with  the  water.  Watdngaa  passed 
Hdwkan  the  wooden  bowl,  who  taking  it  in  both  hands  made  four 
passes,  and  then  deposited  it  in  the  excavation  which  had  been  so 
made  as  to  receive  the  bowl. 

Watdngaa  gave  to  Hdwkan  a  sage  stem,  which  he  straightened 
and  used  as  a  rule  to  divide  the  bowl  into  halves,  by  placing  it 
across  the  rim  of  the  bowl.  While  he  held  the  stem  in  this  position, 
Watdngaa  painted  the  north  half  of  the  rim  of  the  bowl  with  the  black- 
ened tallow,  Chanftoe  and  Debithe,  during  this  operation,  holding  the 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  145 

stick.  Hawkan  and  Debithe  held  the  stem  and  the  other  half  of  the 
rim  of  the  bowl  was  painted  by  Watangaa  with  the  red  tallow.  It 
was  noticed  that  in  holding  the  stem,  care  was  taken  so  that  it  should 
be  directly  on  a  line  with  the  center-pole.  Watangaa  now  made  a 
small  circular  dot  on  the  outside  of  the  bowl  just  under  one  end  of  the 
black  line.  On  a  corresponding  position  of  the  opposite  side,  outside 
of  the  bowl  and  just  under  the  end  of  the  red  line,  he  made  a  semi- 
circular mark  in  red.  These  two  symbols  represented  the  sun  and 
moon. 

Watangaa  now  handed  to  Hawkan  the  spoon,  and  he  dipped  up  some 
of  the  charm  liquid  and  poured  it  into  the  bowl,  pouring  first  on  the 
east,  then  on  the  south,  the  west,  and  the  north  sides,  and  then  in  the 
center  of  the  bowl.  This  same  operation  was  continued  by  Watangaa, 
his  wife,  the  Lodge-Maker,  Chanitoe,  and  Debithe.  Care  was  exer- 
cised in  transferring  the  charm  liquid  into  the  bowl  to  place  therein 
only  so  much  as  would  fill  the  bowl  on  the  level  with  the  symbols 
on  the  outside.  Watangaa  now  renewed  the  paint  on  the  south  half 
of  the  bowl,  while  Chanitoe  renewed  the  red  paint  on  the  north  half  of 
the  bowl. 

All  the  priests  now  formed  in  line  along  the  wall  of  the  lodge  on 
the  east;  Hawkan  and  Chanitoe,  however,  retaining  their  position. 
The  former  now  approached  the  bowl,  which  he  held  at  its  two  edges, 
whereupon  Chanitoe  took  a  spoon  and  stirred  the  liquid  until  it  was 
thoroughly  mixed.  He  then  leaned  over  it,  made  with  his  mouth  a 
noise  resembling  that  made  by  a  goose  just  before  drinking,  and  then 
put  his  lips  in  the  liquid,  taking  a  little  in  his  mouth.  Hawkan  took  a 
goose  feather  and  dipped  it  in  the  bowl  at  the  four  corners  and  at  the 
center.  The  wife  of  Chanitoe,  taking  the  feather  from  Hawkan,  drew 
it  twice  through  Chanitoe's  lips,  as  he  held  his  head  over  the  bowl, 
first  from  right  to  left,  then  from  left  to  right.  Chanitoe  then  made 
the  same  noise  with  his  lips,  and  drank  from  the  bowl.  Debithe, 
Watangaa,  and  others  then  followed,  going  through  the  same  perform- 
ance and  drinking  from  the  bowl.  During  this  time  and  right  after 
the  manufacture  of  the  charm  liquid,  the  singing  and  dancing  had 
continued.  Watangaa  now  sat  down  just  between  the  medicine  bowl 
and  the  skull,  while  opposite  and  facing  him  sat  Chanitoe. 

As  may  be  readily  surmised,  the  color  symbolism  of  the  bowl  is 
the  same  as  shown  in  the  skull  and  other  objects  of  the  altar.  The 
bowl  itself,  with  the  liquid,  was  said  to  represent  the  great  lake  above, 
from  which  all  rain  comes.  The  pounded  berries  were  typical  of  the 
food,  especially  the  vegetable  food  of  the  earth,  while  the  pounded 
herbs  represented,  in  general,  the  earth's  fragrance.      It  is  also  said, 


146       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

that,  as  rain  water  is  "sweet,"  so  this  water  must  be  made  sweet.  The 
object  of  drawing  the  goose-quill  through  the  lips  was  especially,  to 
cleanse  the  mouth,  thus  imitating  the  habit  of  the  goose.  The  poop- 
ing just  before  drinking,  represented  the  noise  made  by  the  goose 
before  drinking,  because  these  birds  drink  good,  clear  water,  in  regions 
where  there  is  ice  and  snow,  where,  therefore,  the  water  is  "sweet." 
The  bodies  of  the  geese  are  white,  and  hence  the  people  imitating  the 
acts  of  the  birds  make  themselves  clean  from  all  badness  and  free  from 
sickness. 

PREPARATION   OF  THE  SWEET-WATER,   1902. 

According  to  the  statement  made  by  Hawkan,  the  charm  liquid, 
or  holy  water,  should  not  be  prepared  in  the  Offerings-lodge,  as  the 
rites  accompanying  the  preparation  of  the  water  are  supposed  to  be 
secret.  On  this  year,  therefore,  when  the  time  came  for  the  prepara- 
tion of  the  water,  i.  e.,  at  about  six  in  the  afternoon,  Hawkan  and 
several  others  left  the  Offerings-lodge  and  proceeded  to  the  tipi  of 
Chanitoe,  which  stood  in  the  camp-circle  just  north  of  the  eastern 
opening,  (See  Plate  XCIX.)  Proceeding  within,  they  arranged 
themselves  in  the  following  order,  beginning  with  the  south  side  of 
the  tipi  entrance  and  continuing  on  around  to  'the  north  side  of  the 
door:  Chanitoe's  wife,  Hawkan,  Chanitoe,  Watangaa,  Nishnat^yana, 
Watanah,  Debithe,  and  Thiyeh. 

Within  the  tipi,  certain  preparations  had  already  been  made.  A 
kettle  of  boiling  water  was  found  hanging  upon  a  crane  over  a  fire  in 
the  center  of  the  tipi.  After  a  few  moments,  Hdwkan  left  his  position 
next  to  Chanitoe's  wife  and  sat  down  between  Nishnat^yana  and 
Watanah.  He  took  a  pipe-stem  in  his  hand  and  directed  the  priests 
in  some  detail,  giving  the  reason  why  the  medicine  water  should  not  be 
prepared  in  the  Offerings-lodge,  and  asking  the  priests,  especially 
those  who  were  present  as  pupils,  to  be  particularly  attentive  during 
the  performance,  in  order  that  they  might  perform  this  rite  accurately 
in  the  future. 

He  then  pointed  out  that  the  kettle  should  not  be  suspended  upon 
the  crane,  and  asked  that  a  tripod  be  provided,  saying  that  only  the 
tripod  used  with  the  tipi  leanback  should  be  used  for  this  purpose. 
No  tripod  being  present  within  the  lodge,  Chanitoe's  wife  went  outside, 
and  soon  returned  with  an  ordinary  tripod  used  over  the  fire.  The 
proper  kind  of  roots  or  herbs  not  being  present,  Chanitoe  left  the  lodge 
and  soon  returned  with  them.  The  tripod  and  packages  having  been 
handed  to  Hdwkan,  he  uttered  a  prayer: 


Pl.  XCIX.    Line  of  Priests  on  Their  Way  to  Prepare  the  Sweet-water. 
Seventh  Day,  1902. 


In  line  from  the  left,  are  Thiyeh,  wife  of  Chanitoe;  Chanitoe,  Nakadsh, 
Nishnateyana  and  Hdwkan.  At  the  end  of  the  line  on  the  right  is  Cleaver 
Warden,  interpreter. 


May;  1903.         The  Arapaho  Sun  Dance — Dorsey.  147 


HAWKAN  S    PRAYER. 

"According  to  your  instructions,  relative  to  making  this  holy 
water,  I  will  now  proceed  with  these  servants.  After  creating  the 
earth,  you  made  this  sweet-water  (goose)  for  us  all.  You  caused  vege- 
tables and  herbs  to  grow,  in  order  that  mankind  might  derive  some 
benefit  from  them.  Here  are  these  servants,  Chanitoe  and  wife, 
before  you,  my  Father,  Man-Above,  and  my  Grandfather,  Light-of- 
the-Day,  the  Center-Road. 

"My  Grandmother,  Old-Woman-Night,  we  cannot  help  but  call 
to  you,  when  we  come  together,  for  your  protection,  upon  the  mem- 
bers of  the  tribe. 

"You  Sun  Dance  priests  and  Rabbit-people,  Dancers-of-the-Past, 
Former  Children  of  this  Lodge,  listen  to  us!  Hear  our  plea!  We  are 
young  in  these  rites,  and  under  obligations  to  call  upon  you  for  assist- 
ance. May  this  kettle  of  water  be  made  to  taste  sweet,  so  that  all 
children  may  drink  it  and  purify  their  streams  of  blood!  Cause  these 
servants  present  to  witness  these  rites  with  solemn  hearts!  Let  this 
sweet-water  be  a  blessing  upon  us  all  to-night,  that  this  tribe  may 
increase  in  population,  just  as  the  geese  increase." 

The  kettle  was  now  lifted  from  the  crane  by  Chanitoe  and  placed 
in  front  of  Hawkan.  The  former  opened  a  sack  containing  dried  and 
crushed  dog  root,  or  sweet  root.  Taking  a  pinch  with  the  thumb  and 
forefinger  of  his  right  hand,  he  motioned  four  times  toward  the  water 
in  the  vessel,  while  Hawkan  made  four  passes  with  the  pipe-stem  and 
spat  toward  the  water  four  times.  The  pinch  of  root  was  then  placed 
upon  the  water  in  the  kettle,  in  the  southwest  corner.  Again  Chanitoe 
took  a  pinch  of  root,  motioned  his  hand  toward  the  surface  of  the 
water  once,  Hdwkan  pointing  with  the  stem  and  spitting  toward  the 
northwest  corner.  Then  Chanitoe  deposited  the  roots  in  this  direc- 
tion. This  performance  was  repeated  for  the  northeast  corner,  and 
the  southeast.  A  fifth  pinch  of  root  was  added  upon  the  surface  of  the 
water,  in  the  center,  Chanitoe  motioning  four  times,  and  Hdwkan 
ejecting  spittle  and  motioning  with  the  pipe-stem. 

The  second  sack,  containing  dried  red  berries,  was  now  opened  by 
Chanitoe,  who  added  five  bunches  of  these  to  the  water,  with  exactly 
the  same  number  of  passes  as  before,  and  accompanied  likewise  with 
similar  actions  on  the  part  of  Hawkan.  This  time,  however,  the  first 
pinch  was  added  to  the  west  side  of  the  kettle,  the  second  on  the 
north,  the  third  on  the  east,  and  the  fourth  on  the  south,  the  fifth,  of 
course,  being  added  in  the  center.     Chanitoe's  wife  next  added  a  pinch 


148       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

of  the  clog  root  and  of  the  red  berries  at  the  four  cardinal  points  and 
emptied  the  contents  of  the  sacks  into  the  kettle. 

Chanitoe  took  up  a  large,  long-handled  ladle  of  sheep's  horn,  with 
which  he  made  four  motions  toward  the  water,  each  motion  being 
accompanied  by  a  similar  movement  on  the  part  of  Hdwkan  with  the 
pipe-stem.  He  dipped  the  ladle  into  the  southwest  corner  of  the  kettle 
and  poured  the  liquid  back  into  the  center.  This  performance  was 
repeated,  but  with  one  motion  and  with  one  ejection  of  spittle  and  one 
movement  of  the  pipe-stem  on  the  part  of  Hdwkan,  in  the  northwest, 
northeast,  and  southeast  corners.  Four  movements  were  then  made 
toward  the  center  by  both  Chanitoe  and  Hdwkan,  whereupon  the 
former  thoroughly  stirred  the  contents  of  the  kettle. 

The  kettle  was  placed  over  the  fire,  upon  the  tripod,  where  it 
remained  for  some  time,  until  the  water  began  to  boil.  During  this 
time  Hdwkan  continued  to  discuss  the  rites  of  the  ceremony  and  to 
explain  to  the  priests  present,  that  as  the  sacred  water  was  taken  from 
this  tipi  of  preparation  to  the  Offerings-lodge,  it  should  be  carried  in 
the  right  hand  only,  and  that  it  should  be  "hidden  from  him."  The 
old  priest,  Hawkan's  informant,  did  not  explain  what  this  meant,  but 
Hawkan  supposed  that  he  referred  to  the  sun. 

When  the  kettle  began  to  boil,  Chanitoe  took  a  coal  from  the  fire 
and  placed  it  in  front  of  Hawkan.  He  also  lifted  the  kettle  from  the 
fire  and  placed  it  at  Hawkan's  right.  The  latter  opened  a  bag  of 
cedar-leaves,  a  pinch  of  which  he  placed  upon  the  coal,  making  first 
four  passes  from  each  of  the  cardinal  points,  beginning  with  the  east 
and  continuing  on  the  south,  west,  and  north  toward  the  coal,  and 
finally  motioning  his  hand  from  above.  He  arose,  lifted  the  kettle, 
and  passed  it  over  the  incense,  with  a  circular  motion,  four  times, 
beginning  each  motion  on  the  north  side,  and  passing  the  kettle  in  a 
sunwise  circuit.     He  set  the  kettle  down  on  the  ground  and  prayed: 

hawkan's  prayer. 

"Please,  Father,  Man- Above,  do  not  get  impatient  at  our  constant 
prayers.  You  caused  the  cedar  tree  to  grow  and  from  it  we  get  leaves 
for  our  incense  for  this  pure  water. 

"Come  and  live  with  us,  you  Spirits,  Supernatural-Beings,  and 
help  us  in  our  supplications!  We  have  boiled  this  water;  placed  the 
root  and  eating-berries  upon  it,  and  it  is  now  prepared.  Poor  and 
humble  as  we  are  in  this  wdrld,  surrounded  by  white  people,  please  do 
have  mercy  upon  us!  May  this  cloud  of  smoke  (incense)  reach  your 
nostrils,  my  Father  and  my  Grandmother!  Let  our  circuits  (the 
courses  with  the  sun,  during  the  day)  be  firm,  and  free  from  accidents! 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  149 

"My  Grandfather,  Big-Painted-Red-Robe,  listen  to  me!  You  are 
the  one  who  directed  and  instructed  me;  and  whatever  I  do,  may  it  be 
pleasing  to  your  sight!  I  have  taken  great  pains  to  pursue  the  way 
which  you  gave  me.  May  this  woman  (Chanitoe's  wife)  carry  this 
kettle  of  sweet-water  safely  to  your  holy  place !  As  the  geese  drank 
that  pure  water  without  difficulty,  so  let  it  be  with  us!  My  Father, 
please  come  and  be  with  us!" 

The  priests  now  left  the  lodge,  accompanied  by  Chanitoe's  wife 
carrying  the  kettle,  and  proceeded  to  the  Offerings-lodge,  where  they 
passed  directly  to  the  spot  between  the  western  wall  of  the  lodge  and 
the  buffalo  skull.  Here  a  circular  excavation  was  made  for  the  wooden 
bowl,  the  sage  being  first  removed,  and  Hawkan  indicating  the  spot 
with  the  pipe-stem  by  the  four  motions,  where  the  excavation  was  to 
be  made.  A  bowl  provided  by  Watdngaa  was  then  placed  upon  the 
excavation.  Chanitoe  opened  the  two  sacks,  one  containing  red,  and 
the  other  black  paint.  The  paint  he  mixed  with  tallow.  Nishnat^- 
yana,  with  the  pipe-stem,  after  four  passes  with  it  toward  the  bowl, 
made  a  mark  on  the  west  side  of  the  rim  of  the  bowl,  and  then  one  on 
the  east.  Hawkan  placed  across  the  bowl  at  these  two  points  a  stem 
of  sage,  being  assisted  by  Watangaa.  Nishnateyana  again  made  four 
motions  with  the  pipe-stem,  ejecting  spittle,  at  the  same  time  touch- 
ing the  bowl,  first  on  the  southeast  corner,  and  then  on  the  southwest, 
northwest,  northeast,  and  finally  drawing  the  point  of  the  stem 
entirely  around  the  rim  of  the  bowl.  Chanitoe  applied  black  paint  to 
the  south  rim  of  the  bowl,  while  Watangaa  besmeared  the  rim  on  the 
north  side  with  red.  Naen  also  applied  black  paint  to  the  south  side, 
passing  her  finger  from  the  east  around  to  the  west,  and  then  applied 
red  paint  on  the  north  rim,  beginning  at  the  west.  Chanitoe  touched 
with  the  point  of  his  forefinger  the  bowl,  on  the  inside  near  the  edge, 
at  two  points  equidistant  and  half-way  between  the  east  and  west 
diameter  of  the  bowl;  and  Watangaa  went  through  a  similar  perform- 
ance on  the  north  side.  Nishnateyana  made  the  four  motions  with  the 
pipe-stem  on  the  outside  of  the  bowl,  and  on  the  east  side,  ejecting 
spittle  also.  At  this  point  near  the  rim  and  edge  and  south  of  the 
east  side  of  the  bowl,  Chanitoe  painted  a  circular  symbol.  Nishnate- 
yana repeated  this  performance  on  the  west  side  of  the  bowl  just  north 
of  the  line  of  the  diameter,  at  which  point  Watdngaa  painted  a  red 
crescent-shape  symbol.  Nishnateyana  made  the  usual  passes  near  the 
kettle,  which  had  been  standing  near  by,  Chanitoe  accompanying  the 
movement  of  the  pipe-stem  with  the  ladle.  He  then  dipped  one  ladle- 
ful  from  the  bowl  at  the  southeast  corner,  moving  it  as  he  passed  it  to 
the  bowl,  in  a  sunwise  circuit.     The  second  ladle  of  water  was  taken 


150       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

from  the  southwest  side,  the  third  from  the  northwest,  and  the  fourth 
from  the  northeast,  Nishnat^yana  making  in  the  three  last-named 
corners  of  the  bowl,  a  single  movement  with  the  pipe-stem.  The 
latter  now  moved  the  pipe-stem  toward  the  center  four  times,  being 
accompanied  with  a  pass  of  the  ladle  by  Chanitoe.  The  latter  took 
up  four  ladlesful  of  water  from  the  center  of  the  kettle  and  added 
them  to  the  bowl.  Watangaa  then,  without  the  accompanying  move- 
ments by  Nishnat^yana,  dipped  from  the  four  corners  of  the  bowl 
and  from  the  center,  and  then,  without  regard  to  position  in  the 
kettle,  dipped  from  it  until  the  bowl  was  filled  as  high  as  the  level  of 
the  two  symbols  on  the  east  and  west  sides  outside  the  bowl.  Chanitoe, 
with  a  white  goose-feather,  dipped  into  the  bowl  five  times,  beginning 
with  the  southeast  and  ending  in  the  center.  The  feather  was 
handed  to  Watangaa,  who  repeated  the  performance.  Again  Hawkan 
laid  the  straight  sage  stem  across  the  center  of  the  bowl,  from  east  to 
west.  Chanitoe  poured  from  the  thumb  and  forefinger  of  his  right 
hand  dry,  black  paint,  along  the  south  side  of  the  bowl  next  the  sage 
«tem,  while  Watangaa  on  the  north  side  of  the  sage  stem  poured  a  line 
•of  red  paint  Chanitoe  covered  the  entire  south  side  of  the  liquid  in 
the  bowl  with  black  paint,  while  Watangaa  covered  the  north  half  of 
the  liquid  red.  Hawkan  removed  the  stem,  and  without  formality, 
thoroughly  mixed  the  paint  with  the  liquid. 

Hawkan  arose,  passed  around  in  front  of  the  cedar  tree,  and  took 
up  the  small  forked  stick  with  the  sage  symbol  of  the  bird,  and  thrust 
the  stick  in  the  ground  on  the  west  side  of  the  bowl,  the  sage  being  so 
turned  that,  had  it  been  a  bird,  it  would  have  looked  upon  the  water. 
Watdngaa  now  sat  down  just  west  of  the  bowl.  Each  of  the  priests, 
with  Hdwkan  in  the  lead,  approached  the  bowl  from  the  south  side, 
knelt  over  it,  while  Watdngaa  drew  the  feather  across  their  mouths,  as 
has  already  been  described.  Each  placed  his  lips  to  the  water^  first 
making  a  peculiar  noise  in  imitation  of  geese  and  then  took  a  sip  of 
.the  liquid  from  the  center  of  the  bowl. 

THE  SUNSET  DANCE. 

The  wives  and  relatives  of  the  dancers  now  removed  all  clothing, 
blankets,  etc.,  from  the  lodge,  whereupon  the  line  of  dancers  and 
priests  (see  Fig.  i,  Plate  C),  turned  toward  the  west,  and  there  began 
the  final  period  of  dancing,  to  continue  until  the  sun  had  disappeared 
in  the  west.  As  the  dancers  faced  the  west  they,  with  the  priests  of 
the  ceremony,  formed  in  a  semicircular  line  just  back  of  and  to  the 
east  of  the  center-pole  and  facing  west.  (See  Fig.  2,  Plate  C.)  In 
this  line,  beginning  at  the  south,  were  Hdcheni,  Debithe,  Wanakdyl, 


§rM 


Pl.  C.   The  Sunset  Dance.   Sixth  Day,  1901. 


Fig.  I.    Dancers  in  line,  resting,  preparatory  to  the  final  dance. 
Fig.  2.     Dancers  in  line,  whistling  toward  the  setting  sun. 


fc^   "^ri 

JliliMiS^ 

^^T^^^^^^^^^L^^^^^^^^^l 

.' 

May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  151 

Heni&nit,  Wdtanah,  Waatu,  Chaiii  (Lump-Forehead),  Thihauchhdwkan, 
Bihata,  Hisehaseh,  Hitantuh,  Hebethngnen,  Niehhinitu  (Howling- 
Bird),  Nisah  (Twins),  Biba,  and  Nawaht. 

The  boughs  and  other  obstructions  had  just  before  been  removed 
from  the  western  quarter  of  the  lodge,  so  that  all  had  an  unobstructed 
view  of  the  setting  sun.  The  spectators  were  careful  not  to  pass  in 
front  of  the  line  of  dancers  and  priests.  The  sage  which  the  dancers 
held  in  their  hands  was  now  waved  more  often  than  on  previous  occa- 
sions, and  was  held  in  an  upward  position.  The  Lodge-Maker  used 
the  buffalo  tail  more  frequently,  holding  his  arm  out  in  front  of  him 
and  bending  it  at  the  elbow,  striking  his  breast  with  the  tail  and  wav- 
ing it  from  him.  Others  occasionally  went  through  the  same  motion, 
beating  their  breasts  with  the  sage. 

As  it  was  near  the  close  of  the  day,  three  dancers,  who  had  worn 
yellow  feathers  in  their  hair,  went  to  the  grandfathers  to  have  the 
feathers  removed.  As  the  sun  sank  lower  and  lower  to  the  horizon 
the  fervor  of  the  dancers  continued  to  increase,  while  the  volume  of 
noise  from  the  drummers  and  accompanying  female  chorus  was  of  the 
most  enthusiastic  nature.  The  effect  thus  produced  was  greatly 
heightened  by  the  shouting,  and  yelling  on  the  part  of  the  friends  of 
the  dancers,  encouraging  them  to  hold  out  to  the  end.  In  this  veri- 
table babel  of  noise  could  be  heard  now  and  then  the  shrill  whoop  of 
the  war-cry,  given  on  the  part  of  certain  members  of  the  warrior  soci- 
eties. The  dancing  continued  with  renewed  vigor,  although  it  had 
been  prolonged  without  a  moment's  cessation  for  over  twenty  minutes. 
As  an  offset  to  the  cheering  words  spoken  by  some  of  the  older  priests, 
such  as  chief  Nawaht's  constant  calling  out:  "Dance  harder!"  "The 
sun  is  setting!"  "Do  not  give  up!"  one  or  two  others  cried  out, 
"You  may  as  well  give  up!"  "You  can't  possibly  last  any  longer!" 
"There  is  no  water  or  food  left,  anyway!" 

The  long  continued  strain  on  the  part  of  both  the  dancers  and  the 
spectators  was  being  more  and  more  felt,  and  instead  of  the  wild  shout- 
ing and  calling  of  the  men,  the  great  throng  became  gradually  quiet, 
until  at  the  end,  not  much  was  heard  except  the  low  singing  of  the 
musicians,  and  the  heaving  and  panting  of  the  almost  exhausted 
dancers. 

The  dancing,  after  continuing  uninterruptedly  for  nearly  forty 
minutes,  came  to  a  sudden  end.  Thereupon  a  great  shout  was  sent 
up  by  all ;  for  the  ceremony  had  come  to  a  happy  termination  without 
any  one  falling  by  the  way  and  without  a  mishap,  and  all  rejoiced  cor- 
respondingly. This  impressive  exhibition  of  endurance  and  faith  is 
termed  "gambling  against  the  Sun."   It  expresses,  on  the  part  of  each 


152       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

dancer  his  earnest  prayer  and  an  effort  to  conquer,  to  survive,  to  com- 
plete his  three-days'  fast,  without  falling,  in  spite  of  the  opposition  of 
the  intense  heat  of  the  sun.  To  survive  means  to  win  benefit.  At 
the  conclusion  of  the  dance  all  exclaimed,  *'Thanks!  We  have  attained 
our  desire!" 

BATHING  AND  PURIFICATION  OF  THE  DANCERS. 

Water  was  now  brought  in  buckets  and  in  each  were  placed  bunches 
of  sage,  one  for  each  corner  and  one  for  the  center.  Each  dancer  now 
stood  in  front  of  the  bucket,  and  taking  the  sage,  dipped  it  in  the  water 
and  then  passed  the  sage,  barely  touching  their  bodies,  first  about  their 
ankles,  then  up  their  legs,  rubbing  first  the  right  side  and  then  the 
left,  and  then  up  their  arms.  Then  they  touched  the  symbol  on  their 
backs  and  applied  the  sage  to  both  shoulders  and  to  their  heads,  each 
motion  terminating  at  the  symbol  on  the  breast.  Then  the  dancers, 
one  by  one,  approached  the  medicine  bowl  from  the  south  side,  where 
they  stooped  over  it,  while  Chanitoe  drew  the  feather  across  their 
mouths,  after  dipping  it  in  the  liquid,  from  the  left  to  the  right  side, 
and  frorh  the  right  to  the  left.  Then,  placing  the  lips  close  to  the  water, 
they  produced  the  sound,  such  as  has  already  been  described,  then 
drank  of  the  water,  jumped  over  the  bowl,  and  returned  to  their 
buckets. 

By  the  side  of  the  bowl  of  charm  liquid,  between  it  and  the  skull 
of  the  altar,  there  should  have  been  a  small  stick  standing  just  to  the 
east  of  the  medicine  bowl.  The  upper  end  of  the  stick  is  forked, 
while  the  stick  is  so  placed  that  the  prongs  of  the  fork  stand  east  and 
west.  On  this  fork  rests  a  small  bird,  the  common  name  of  which 
could  not  be  learned,  with  its  head  pointing  toward  the  bowl.  It  is 
called  the  "packed"  or  carried  (in  a  cradle)  bird.  According  to 
Hawkan,  this  is  the  same  bird  that  is  represented  as  being  on  the  back 
of  the  goose,  as  has  already  been  mentioned.  The  bird  is  said  to  be 
found  near  ponds  and  buffalo  wallows,  and  is  the  apostle  of  the  holy 
water  to  the  people.  The  reason  for  the  absence  of  the  bird  itself 
from  the  ceremony,  was  due  to  the  fact  that  the  skin  which  is  always 
used  for  this  purpose  had  been  forgotten,  and  was  at  that  time  at 
Cantonement,  about  thirty  miles  away.  The  forked  stick  upon  which 
the  bird  rests  is  supposed  to  be  an  old  man's  cane,  while  the  bird 
itself  looks  down,  telling  the  people  that  it  wants  every  one  to  come 
up  and  drink  this  water,  as  it  is  from  above.  After  the  ceremony  of 
the  charm  liquid,  the  bird  is  placed  in  a  small  sacred  bundle  and  is 
preserved  for  use  in  future  ceremonies. 

On    returning  to    the    buckets,    the    dancers    thoroughly  washed 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  153 

themselves  from  head  to  foot.  Then  each  man  stooped  over  the 
bucket  and  drank  copious  drafts  of  water.  This  done,  each  man, 
either  by  means  of  his  finger,  or  by  means  of  a  sage  stem,  tickled  his 
throat  to  cause  violent  vomiting.  While  the  dancers  were  thus  wash- 
ing themselves,  after  partaking  of  the  charm  liquid,  each  of  the  great 
crowd  of  spectators  came  up  to  the  bowl,  in  single  file,  went  through 
the  purification  ceremony,  one  by  one,  as  had  the  others,  and  then 
jumped  over  the  bowl. 

BREAKING  OF  THE  FAST. 

As  fast  as  the  dancers  had  washed  themselves,  they  passed  out- 
side the  lodge,  where  they  joined  groups  of  friends,  which  were  now 
scattered  here  and  there  in  great  numbers  all  about  the  lodge,  where 
all  indulged  in  the  open-air  feast.  To  give  an  adequate  description 
of  the  profusion  of  food  which  was  supplied  on  this  night,  or  properly 
to  characterize  the  feeling  of  deeply  religious  good  nature  which  was 
shown,  would  be  an  impossibility.  After  all  had  finished,  the  food 
was  gathered  up  and  taken  by  the  women  to  their  homes,  and  the 
ceremony  of  the  day  was  at  an  end.  The  priests  and  dancers  passed 
the  night  at  their  own  tipis. 


SEVENTH   DAY,   1901;    EIGHTH   DAY,  1902. 

This  day  corresponds  to  the  eighth  day  in  the  1902  performance, 
the  rites  of  the  two  days  being  practically  the  same.  But  few  more 
duties  remain  for  the  dancers  to  perform  on  this  the  final  day  of  the 
Sun  Dance  ceremony;  these  are,  the  final  dancing  out  to  meet  the 
Sun,  the  rite  of  purification,  and  the  smoking  of  the  sacred  straight- 
pipe.  There  then  follows  the  informal  offering  or  sacrifice  of  old 
clothes  to  the  lodge,  by  any  one  of  the  camp-circle  who  may  be  so 
disposed. 

EARLY  RITES  IN  THE  LODGE. 

On  going  to  the  lodge  early  this  morning  before  sunrise,  it  was 
found  that  the  dancers  had  already  put  in  an  appearance,  together 
with  many  of  the  priests.  Within  a  short  time  all  those  who  had  up 
to  this  time  been  connected  with^.the  ceremony  were  present,  and 
formed  north  of  the  center  pole  in  one  semicircular  line,  which  extended 
nearly  half-way  around  the  lodge.  At  one  end  of  the  line,  and  nearest 
the  eastern  opening  was  Waakatani.  Next  to  him,  and  in  order,  were: 
Watdngaa,  Chanitoe,  Hawkan,  Debithe,  Biba,  wearing  a  buffalo  robe, 
the  Lodge-Maker,  and  the  remaining  nine  dancers,  the  position  of  the 


154       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

last  one  being  in  front  of  and  beyond  the  altar.  The  drummers  occu- 
pied their  accustomed  position. 

Watdngaa  now  left  the  line  and  went  over  to  the  altar,  where  he 
took  up  the  ceremonial  pipe,  the  Badger-pack,  and  the  goose-quill. 
Debithe  also  left  the  line  and  got  the  Wheel.  The  Lodge-Maker  now 
placed  around  him  the  buffalo  robe,  with  the  hair  side  outward. 
Hocheni  took  up  the  rawhide,  while  Waakatdni  followed  Debithe  and 
returned  with  the  many  wrappings  of  the  Wheel.  The  dancers  now 
continued  to  stand  in  this  same  line,  while  the  priests  from  the  east 
end  of  the  line  passed  in  a  single  file  in  front  of  them,  and  on  around 
to  the  north,  east,  and  back  in  front  of  the  dancers,  where  they  sat 
down.  The  Lodge-Maker  and  his  wife,  Biba,  now  left  the  line  and 
sat  down  in  front  of  the  remaining  dancers,  and  in  front  of  the  ditch, 
the  Lodge-Maker  being  on  the  south  side  and  Biba  on  the  left.  The 
rattle,  which  had  been  forgotten,  was  now  obtained  by  Hawkan,  who 
gave  it  to  Chanitoe.  Watangaa  lighted  a  pipe  and  passed  it  along 
the  line,  each  priest  as  he  received  it,  taking  a  few  whiffs.  As  the 
pipe  was  returned  to  Watdngaa,  he  placed  it,  together  with  the  feather, 
on  the  Badger-pack. 

The  relative  positions  of  the  two  lines  again  changed,  the  Lodge- 
Maker  and  his  wife  moving  forward  and  joining  the  line  of  priests. 
Two  of  the  dancers  also  now  assumed  a  position  in  the  forward  line. 
With  these  changes,  the  line  of  the  dancers  was  semicircular  in  shape, 
the  center  of  the  line  being  just  in  front  of  the  altar.  The  second 
line,  which  was  five  feet  in  front  of  the  first  line,  extended  from  a 
point  between  the  altar  and  the  center-pole,  on  around  toward  the 
west  and  north.  The  position  of  those  in  the  second  line,  beginning 
with  the  southern  end,  was  as  follows:  Biba,  Chanitoe,  Hitantuh, 
Wdtanah,  and  H6cheni. 

Biba  now  arose,  and  Debithe  handed  her  the  Wheel  and  the 
straight-pipe,  which  he  took  up  from  the  badger-skin.  Both  of  these 
objects  Biba  held  in  her  right  hand,  the  bowl  of  the  pipe  pointing  for- 
ward. While  the  entire  line  of  priests  now  moved  a  little  toward  the 
north,  the  line  of  the  dancers  passed  also  toward  the  north  until  they 
were  immediately  behind  the  former.  The  two  lines  now  split  into 
two  divisions,  there  being  thus  formed  four  short,  concentric,  curved 
lines  northwest  of  the  center-pole. 

THE  SUNRISE  DANCE. 

The  crowd  around  the  lodge  and  within  it  was  now  as  great  as  at 
any  time  during  the  ceremony,  although  care  was  taken  that  the  move- 
ment of  the  dancers  and  the  priests  should  not  be  interfered  with,  nor 


Pl.  CI.    The  Badger-pack.    Seventh  Day,  1901. 


Fig.  I.     Watdngaa  with  the  badger  skin. 

Fig.  2.     Hocheni,  with  the  wrapping  from  Badger-pack. 


rof 


Pl.  cm.   Smoking  the  Straight-pipe.   Seventh  Day,  1901. 


Fig.  I.    Hocheni  holding  the  straight-pipe,  preparatory  to  h'ghting  it. 
Fig.  2.     The  straight-pipe   being    smoked  by  the  Sun  Dance  priests  and 
dancers. 


PL.  cm.   The  Wheel  Returned  to  Its  Owner.   Seventh  Day,  1901. 


Fig.  I.    Debithe  leaving  the  Offerings-lodge  with  the  Wheel  in  its  wrappings 
and  the  rabbit  fur. 

Fig.  2.    The  Wheel  in  its  position  behind  the  tipi  of  the  Keeper. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  155 

did  any  one  pass  between  these  lines  and  the  eastern  opening  of  the 
lodge.  The  singers  now  began  a  song,  each  of  the  dancers  keeping 
time  with  the  eagle-bone  whistle,  the  women  yelling  vociferously  from 
time  to  time.  It  was  now  noticed  that  while  the  Lodge-Maker  had 
kept  on  his  buffalo  robe,  Biba  had  laid  hers  aside.  After  the  singing 
and  the  whistling  had  continued  for  a  few  moments,  all  four  lines 
stepped  forward  toward  the  center-pole,  then  backward  toward  the 
northwestern  corner  of  the  lodge,  then  forward  again,  this  time  pro- 
ceeding as  far  as  the  eastern  opening  of  the  lodge,  then  back  again  to 
about  the  center  of  the  lodge,  then  forward  again,  the  lines  this  time 
passing  outside  and  about  twenty  feet  beyond,  to  the  east  of  the  lodge, 
where  they  halted,  and  all  shook  themselves  vigorously. 

SMOKING  THE  STRAIGHT-PIPE. 

Those  not  actually  engaged  in  the  ceremony  now  departed  for 
their  homes.  The  priests  and  the  dancers  then  formed  themselves  in 
a  semicircular  line,  the  opening  of  which  faced  toward  the  east.  In 
the  center  of  the  line  was  Watangaa,  Debithe,  Hawkan,  and  the 
remaining  priests,  while  the  two  ends  of  the  line  were  made  up  of  the 
dancers.  To  the  east,  and  just  in  front  of  Watangaa,  were  placed 
the  wrappings,  upon  which  was  now  deposited  the  Wheel.  Watangaa 
next  untied  the  Badger-pack,  retaining  the  badger-skin,  while  Hocheni 
retained  the  wrapper  which  had  formed  the  covering  of  the  badger- 
skin.  (See  Plate  CI.)  It  was  not  noted  that  the  anterior  portion  of 
the  badger-  skin  was  painted  black,  while  the  remainder  was  painted 
red.  The  badger-skin,  together  with  the  pipe-stem  and  rattle,  were 
placed  on  the  old  buffalo  wrapper.  After  a  prayer  by  Hdwkan  (see 
Fig.  I,  Plate  CII.),  the  pipe  was  handed  to  Hocheni,  who  lighted  it, 
prayed,  puffed  on  the  pipe  again,  whereupon  it  was  passed  along  the 
line  to  the  south,  when  it  was  handed  back  along  the  north  side  of  the 
line.  (See  Fig.  2,  Plate  CII.)  The  pipe  was  then  returned  to 
Hocheni.  All  the  priests  now  left  for  their  lodges,  while  Watdngaa 
and  Debithe  remained  to  wrap  the  Wheel,  pipe,  etc.,  in  their  proper 
envelopes.  These  objects  were  then  returned  to  their  keepers  or 
owners.      (See  Plate  CIII.) 

In  regard  to  the  ceremony  which  has  just  been  described,  it  may 
be  stated  that  the  method  of  advancing  by  degrees  outside  the  lodge 
was  a  form  of  asking  that  the  Man-Above  and  the  Grandfather  listen 
to  their  prayers.  It  also  typified  the  going  after  something  which  is 
good,  the  idea  being  that  as  they  rtiake  the  final  advance  at  the  fourth 
time,  they  take  it  with  a  good  heart.  The  shaking  of'  the  blankets 
may  be  regarded  as  a  purification  rite  whereby  sickness  and  sorrow 
were   shaken  off.     The  smoking  of  the  straight-pipe   at  this  time,  on 


156       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

the  part  of  all,  which  formed  the  final  performance  in  the  ceremony, 
was  to  the  effect  that  all  might  follow  a  straight  road,  that  all 
might  be  protected,  and  that  the  families  of  those  who  had  fasted  and 
taken  part  in  the  ceremony  might  be  protected,  inasmuch  as  they  had 
performed  the  ceremony  according  to  the  orders  of  Man-Above. 

THE  MORNING  RITES,  1902. 

This  performance  on  this  year  was  practically  the  same  as  has 
already  been  described.  As  the  dancers  moved  out  toward  the  sun, 
the  wife  of  Nishnat^yana  held  the  Wheel,  while  the  wife  of  Watdngaa 
carried  the  sacred  pipe,  holding  it  in  her  right  hand,  with  the  bowl 
pointing  upward.  After  the  purification  ceremony,  and  after  the 
priests  had  sat  down  upon  the  ground,  Hdwkan  and  Chanitoe  removed 
the  rabbit  fur  from  the  Lodge-Maker's  robe,  which  Hawkan  tied  up  in 
a  bundle  and  placed  with  it  five  sprigs  of  fresh  sage.  The  sacred 
straight-pipe  was  given  to  Hdcheni,  who  pointed  with  the  bowl  south- 
east, southwest,  northwest,  northeast,  and  then  with  the  stem  toward 
the  sun  and  ground. 

The  Badger-pack,  after  being  carried  out,  was  placed  in  its  usual 
position  south  of  the  Wheel.  It  was  unwrapped  by  Watangaa,  who  car- 
ried away  with  him  the  badger-skin,  while  H6cheni,  as  on  the  preceding 
year,  retained  the  black  and  red  covering.  It  was  noticed  when  the 
Wheel  was  finally  wrapped,  that  it  had  been  lying  on  a  thick  bed  of 
sage. 

THE  SACRIFICE   OF  CHILDREN'S  CLOTHING. 

It  was  now  about  ten  o'clock,  and  many  of  the  lodges  about  the 
great  camping-circle  had  already  been  taken  down,  preparatory  to 
the  return  of  the  families  to  their  homes  in  the  different  parts  of  their 
reservation.  As  soon  as  the  priests  had  finished  their  smoking  and 
had  left,  men  and  women,  singly  or  in  pairs,  and  generally  accompanied 
by  children,  began  making  their  way  toward  the  Offerings- Lodge  from 
all  points  of  the  circle.  Having  entered  the  lodge,  the  majority  of  them 
lifted  their  right  hands  toward  the  sun  and  offered  a  prayer,  whereupon 
they  proceeded  to  the  cedar  tree,  or  to  one  of  the  other  trees  forming 
the  altar  (see  Fig.  i,  Plate  CIV.  and  Plate  CV.),  or  to  the  center-pole 
itself  (see  Fig.  2,  Plate  CIV.  and  Plate  CVL),  where  they  fastened 
bundles  of  clothes  discarded  by  their  children  during  the  year,  the 
idea  thus  expressed  being  that  they  desired  that  the. children  should 
grow  up  to  be  men  and  women,  and  should  be  accompanied  by  good 
luck  throughout  life.  One  of  the  prayers  uttered  just  before  the 
offering  of  the  old  clothes  on  this  morning  is  here  given:. 


PL.  CIV.    Sacrifice  of  Clothing.    Seventh  Day.    1901. 


Fig.  I.    The  altar,  after  the  sacrifice  of  old  clothing. 

Fig.  2.    The  center-pole,  encased  by  several  lines  of  old  clothing 


FIELD   COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,   PL.  CIV. 


PL.    CV.   The  Altar,  after  the  Sacrifice  of  Old  Clothing.    Eighth  Day,  1902. 


Pl.  CVI.   The  Center-pole,  after  the  Sacrifice  of  Old  Clothing, 
Eighth  Day,  1902. 


FIELD   COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  CVI. 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  CVII. 


FIG.  2. 


PL.  evil.   The  Altar,  after  the  Sacrifice  of  Old  Clothing.   Seventh  Day,  1901. 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  CVIII. 


Pl.   CVIII.   The  Offerings-lodge,  after  the  Ceremony.   Seventh  Day,  1901. 


Fig.  I.    Parents  repairing  to  the  lodge,  to  offer  the  worn-out  clothing  of  their 
children. 

Fig.  2.    The  deserted  lodge. 


i  rasab  3riT    .£  .gj'l 


May,  1903.         The  Arapaho  Sun  Dance — Dorsest.  157 


PRAYER    BEFORE    THE    SACRIFICE. 

"White-Man-Above,  my  Father,  here  are  the  clothes  of  my  child. 
I  am  going  to  deposit  them.  They  are  no  longer  good  for  my  child. 
By  doing  this,  I  ask  you  to  watch  over  him  from  day  to  day  and  keep 
him  from  temptation.  May  he  grow  up  to  be  a  man,  to  understand 
your  teachings  which  we  have  just  gone  through!  I  hope  you  will 
hear  our  prayer  for  my  child." 

By  noon  all  those  who  desired  to  make  these  offerings  had  done 
so,  the  result  being  shown  in  the  almost  covered  condition  of  the  altar 
(see  Plate  CVII.),  and  by  several  bands  of  clothes  which  entirely  sur- 
rounded the  center-pole,  to  a  height  of  two  or  three  feet. 

By  evening  the  camping-circle  was  entirely  abandoned,  except 
here  and  there,  where  there  remained  the  lodge  of  one  of  the  chiefs 
who  took  this  opportunity  for  discussing  more  secular  affairs  which 
concerned  the  welfare  of  their  tribe. 

END  OF  THE  CEREMONY,   1902. 

In  1902  the  ceremony  ended  at  noon  on  Thursday,  August  28th. 
On  the  two  following  days  were  performed  several  dances  of  a  sociable 
or  semi-religious  nature,  given  chiefly  for  the  entertainment  of  the 
visiting  tribes.  Immediately  after  the  rites  at  and  outside  the  lodge 
on  this  day,  the  Dog-soldiers  repaired  to  the  tipi  of  one  of  their  mem- 
bers, where  they  conducted  certain  ceremonies,  as  will  be  noted  in  a 
later  paragraph. 

ULTIMATE  FATE   OF  THE   OFFERINGS-LODGE. 

The  lodge  with  its  altar  is,  so  far  as  the  author  is  aware,  never 
molested  by  the  Arapaho,  nor  by  any  of  the  neighboring  tribes,  and 
remains  until  it  is  destroyed  by  the  elements.  Inasmuch  as  the  Sun 
Dance  camp-circle  is  generally  in  an  open  plain,  where  good  pasture  is 
likely  to  abound,  the  probabilities  are  that  the  altar  will  sooner  or  later 
be  disturbed  by  cattle  or  horses,  after  the  removal  of  the  camp-circle. 
No  attempt,  however,  is  made  to  protect  the  altar  from  such  possible 
disturbances.  (See  Plate  CVIII.)  In  three  instances  permission  has 
been  given  the  author  to  remove  the  skull  and  such  objects  as  he 
might  desire  from  the  altar  and  the  center-pole.  It  is  also  known  that 
once  or  twice  one  of  the  priests  has  preserved  the  buffalo  skull  for  use  in 
future  ceremonies.  This  is  due  of  course  to  the  fact  that  buffalo  skulls 
are  no  longer  plentiful,  and  are  obtained  only  with  great  difficulty. 


158       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

RITES  IN   THE  DOG-SOLDIERS'   LODGE. 

The  part  which  the  Dog-soldiers  play  in  the  ceremony  of  the  Sun 
Dance  has  been  frequently  noted.  Perhaps  the  most  important  of 
these  rites  are  connected  with  the  ceremonial  spying-out,  capture,  and 
erection  of  the  center-pole.  The  warrior,  who  in  preceding  Sun 
Dances  was  privileged  to  lead  in  this  rite,  had  recently  died,  and  it 
became  necessary  therefore  that  upon  another  Dog-soldier  be  conferred 
the  degree,  which  should  give  him  the  same  right  or  privilege.  It  has 
also  been  pointed  out  in  connection  with  the  ceremony  of  the  center- 
pole,  that  HanatchawatanI  and  his  wife,  Hiss^hnihani  volunteered  their 
services,  and  it  will  be  remembered  that  HanatchawdtanI  at  that  time 
carried  a  pipe  filled  with  tobacco  to  Nishchanakati,  in  order  that  the 
latter  might  present  it  to  the  standing  fork. 

HanatchawatanI  was  privileged  to  capture  the  tree,  but  it  became 
necessary  that  the  Dog-soldiers  meet  and  confirm  this  right.  This 
meeting  took  place  on  the  night  of  the  seventh  day  of  the  1902  per- 
formance, in  the  lodge  of  Haniit  (Long-Hair),  where  certain  prelimi- 
nary movements  were  undertaken,  after  which  the  Dog-soldiers  spent 
the  night  in  singing  sacred  songs  peculiar  to  their  order.  On  the 
following  morning,  i.  e.,  on  the  last  day  of  the  Sun  Dance  ceremony, 
and  after  the  sacrifice  of  clothing  to  the  altar  and  center-pole  had  been 
made,  the  Dog-soldiers  gathered  in  the  lodge  of  one  of  their  number 
on  the  northeast  side  of  the  camp-circle,  where  they  had  a  feast,  and 
where  four  of  their  number  were  painted,  with  interesting  and  instruct- 
ive rites,  (See  Plate  CIX.)  At  this  time  Hanatchawdtanl's  right  to 
officiate  in  the  performance  attendant  on  the  capture  and  erection  of 
the  center-pole,  presumably,  was  confirmed.  The  details  of  this,  how- 
ever, were  not  learned  by  the  author,  owing  to  lack  of  time.  A 
description  of  the  rites  performed  at  that  meeting,  and  of  the  paint  of 
these  men,  is  deferred  until  another  time. 

X.— The  Painting  of  the  Dancers. 

For  the  four  days'  ceremony,  when  the  dancing  occurs,  the  bodies 
of  the  dancers  are  decorated  with  certain  prescribed  designs.  While 
no  satisfactory  account  of  the  painting  of  the  dancers  has  yet  been 
obtained,  the  following  brief  tale  is  not  without  interest  in  this  con- 
nection: "The  paintings  which  the  dancers  bear  during  the  Sun  Dance 
ceremony  are  derived  from  Young-Bull  (Buffalo).  This  bull  was  seen 
on  a  hill-top  during  the  hot  weather  fasting  for  days  and  nights.     One 


Pl.  CIX.    Dog-soldiers.    Eighth  Day,  1902. 


Dog-soldier  lodge  during  the  rite  of  conferring  the  privilege  to  cut  the 
center-pole  upon  one  of  their  number:  On  the  left  is  Bufifalo-Bull;  in  the  center, 
White-Buffalo;  and  on  the  right,  Spotted-Bean. 


FIELD   COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  CIX. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  159 

day  when  there  was  a  clear  sky  and  the  atmosphere  slightly  hazy, 
Young-Bull  was  seen  from  the  distance  vomiting  the  different  colors 
in  long  streaks  (white,  yellow,  green,  black,  etc.)." 

In  describing  hereafter  the  various  paints  worn  by  the  dancers, 
those  worn  only  on  the  last  three  days  of  the  ceremony  will  be  consid- 
ered. These  will  be  spoken  of  as  the  second,  third,  and  fourth  paint, 
inasmuch  as  the  first  or  white  paint  is  uniform  for  all  the  dancers,  and 
has  been  already  described.  It  may  be  further  added,  to  avoid  confu- 
sion, that  the  first  paint  in  the  1901  ceremony  was  worn  on  the  third 
day,  in  the  1902  ceremony  on  the  fourth  day;  the  second  paint  in  1901 
was  worn  on  the  fourth  day,  and  in  1902  on  the  fifth  day;  the  third 
paint  in  1901  was  worn  on  the  fifth  day,  and  in  1902  on  the  sixth  day; 
the  fourth  paint  in  1901  was  worn  on  the  sixth  day,  and  in  1902  on  the 
seventh  day. 

THE  MOTHER-EARTH   PAINT. 

The  only  paint  worn  by  Biba  was  on  the  first  day  of  the  ceremony 
proper,  i.  e.,  the  day  of  the  erection  of  the  lodge.  This  paint  was 
described  to  the  author  by  Hawkan,  but  as  may  be  seen  by  a  compari- 
son with  the  paint  in  the  1902  performance,  the  description  is  not 
quite  accurate.  Before  the  priests  emerged  from  the  Rabbit-tipi,  her 
entire  body  was  painted  red  by  Sosoni  and  Waanibe.  Over  this  red 
paint  and  on  the  center  of  her  breast  was  painted  a  circular  spot  in 
black,  about  three  inches  in  diameter,  which  represented  the  sun.  At 
each  side  of  this  spot  and  above  and  on  her  chin  were  painted  four 
pipes,  representing  the  prayers  which  she  offered  during  the  ceremony, 
and  which,  according  to  Arapaho  mythology,  are  conveyed  to  the 
Father  through  the  intervention  of  a  ceremonial  pipe.  Around  her 
two  wrists  and  ankles  was  then  painted  a  single  band  of  black,  also 
representing  prayers.  A  black  line  was  then  drawn  around  her  face, 
passing  just  beneath  the  pipe-stem  on  the  chin,  in  front  of  the  ears, 
and  through  the  middle  of  her  forehead.  This  also  represented  the 
sun.  Just  between  the  two  eyes  was  painted  a  Y-shaped  symbol, 
which  corresponded  to  the  forked  center-pole  of  the  great  lodge.  On 
her  nose  was  placed  a  black  dot,  the  symbol  of  the  buffalo  calf,  and 
on  the  back  of  her  left  shoulder  was  painted  a  crescent-shaped  symbol, 
representing  the  moon.  The  red  paint  which  covered  her  entire  body, 
represented,  primarily,  the  color  of  the  Indian  race,  but  as  the  earth 
is  the  mother  of  all  people,  it  also  represented  the  earth,  and  in  the 
dramatization,  Biba  represented  the  earth. 


i6o       Field  Columbian  Museum — Anthropologv,  Vol.  IV. 

THE   LODGE-MAKER'S  PAINT. 

This  paint  in  1901  was  worn  by  Thihduchhdwkan  and  Bihata  on  all 
three  days;  in  1902  by  Niwaat,  Wadtanakashi,  and  Yahiise  on  all  three 
days,  by  Hitehuu  (Little-Crane),  on  the  first  day,  and  by  Hathdniseh 
(Lone-Star)  and  Hin^nwatani  on  the  first  and  second  days. 

Whereas  the  painting  of  the  other  dancers  during  the  ceremony  is 
determined  either  by  their  own  choice,  or  by  that  of  their  particular 
grandfathers,  the  Lodge-Maker  of  the  ceremony  always  wears  a  certain 
paint.  Frequently,  to  add  emphasis  to  and  intensify  the  symbolism 
thus  portrayed,  the  paint  is  worn  by  one  or  more  other  individuals, 
Bihata  being  such  an  one  in  the  ceremony  under  consideration.  A 
description  of  the  Lodge-Maker  will  therefore  suffice  for  the  latter 
individual. 

The  order  of  procedure  followed  by  the:  Lodge-Maker's  and 
Bihata's  grandfathers  in  painting  them  was  uniform  throughout  the 
three  days'  ceremony.  (Fig.  i,  Plate  CX.)  After  the  Lodge-Maker 
had,  on  each  of  the  three  days,  received  the  first  or  body  coat  of 
white  earth  paint,  and  after  it  had  become  thoroughly  dried,  he  knelt 
down  in  front  of  the  grandfather.  The  latter  then  took  a  moistened 
cloth  and  erased  the  white  paint  at  certain  places,  leaving  the  flesh 
exposed  in  the  form  of  a  diamond.  This  was  done  on  the  front  of 
both  upper  and  lower  arms,  and  on  the  front  of  the  upper  and  lower 
legs.  A  similar  but  larger  diamond-shaped  space  was  then  erased  in 
the  center  of  the  breast.  The  Lodge-Maker  then  turned  his  back  to 
the  grandfather,  who  on  the  right  shoulder  erased  a  crescent-shaped 
space.  The  diamond-shaped  spaces  were  then  outlined  in  black,  while  a 
black  line  was  also  extended  around  the  ankles  and  around  the  wrists. 
From  each  ankle  circle  a  black  line  was  continued  up  the  leg  to  the  first 
diamond-shaped  space,  and  then  from  its  upper  apex  on  to  the  base 
of  the  figure  on  the  breast,  where  it  was  continued  along  one  side,  up 
over  the  shoulder,  and  down  on  the  arm  to  the  circular  band  at  the 
wrist,  connecting  the  two  diamonds  on  the  arm.  The  same  line  was 
then  drawn  on  the  other  half  of  the  body,  beginning  at  the  ankle  and 
terminating  at  the  wrist.  He  now  drew  a  black  circle  around  the  face, 
passing  over  the  center  of  the  chin,  through  the  middle  of  the  fore- 
head, and  just  in  front  of  the  ears.  The  entire  face  within  this 
circle  was  now  painted  red,  while  the  nine  diamond-shaped  figures 
were  also  painted  red.  These  red  surfaces,  both  on  the  face  and  on 
the  body,  were  now  outlined  and  separated  from  the  black  line  by 
means  of  a  narrow  yellow  line. 

The  Lodge-Maker  then  placed  his  back  to  the  grandfather,  while 


Pl.  ex.    Lodge-Maker's  Paint. 


Fig.  I.    Second  paint. 
Fig.  2.    Third  paint, 
f^'g*  3-    Fourth  paint. 


^z^ 

^^^^^-       ^\. 

^'^'"^^'^ '^^"^S^i  ^^H 

^iCz^ 

.  f^^^^^^^^^^^^^^^^^^H 

Wk'    ^ 

i_p^i 

^ 

l^f JT    fr^ 

1^ 

PL.  CXI.    Looqe-Makers,  1901. 


Fig.  I.     Bihata. 

Fig.  2.    Thihduchhdwkan. 


^iffiffSBBSifigy ' 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  161 

the  latter  filled  in  the  moon  symbol  with  red  paint,  which  was 
then  outlined  with  a  narrow  yellow  line.  A  black  dot  was  now  added 
on  the  middle  of  the  nose,  while  under  each  eye  was  placed  a  short 
zigzag  line  in  black.  Over  the  edge  of  the  diamond-shaped  figure  on 
the  breast  was  then  painted  in  black  a  small  circle,  upon  which  was 
drawn  a  narrow  rectangular  design  which  terminated  in  a  plant-like 
symbol.  A  somewhat  similar  symbol  was  drawn  just  above  the  black 
line  encircling  the  face,  on  the  forehead.  Both  of  these  symbols 
represented  a  man  standing  on  the  sun,  while  the  designs  under  the 
eyes  represented  tears.  The  design  over  the  forehead  is  said  also  to 
represent  the  buffalo  standing  on  the  hill,  fasting.  The  crescent- 
shaped  object  on  the  back  represented  the  moon,  the  various  diamond- 
shaped  designs  representing  the  sun,  while  the  black  lines  which 
connect  them  represented  the  paths  of  rays  of  the  sun. 

On  this,  the  second  day's  paint,  the  Lodge-Maker  wears  no  head- 
dress, and  only  a  buckskin  kilt,  with  a  flannel  loin-cloth,  about  his  lower 
extremities.  In  his  right  hand  he  carries  a  bunch  of  wild  sage.  He 
also  wore  five  bunches  of  sage,  in  upright  position,  which  were  arranged, 
one  at  either  side  and  slightly  in  front  of  the  body,  while  the  other 
three  were  arranged  about  the  back,  at  equal  distances  around  the 
back  of  the  body.  The  wearing  and  arrangement  of  these  five  bunches 
of  sage  has  reference  to  the  grass,  while  the  number  five  is  due  to  the 
fact  that  man  has  five  fingers  and  five  toes,  and  also  as  an  acknowl- 
edgement to  Man-Above  and  the  Four-Old-Men. 

The  paint  of  the  Lodge-Maker  for  the  third  and  fourth  days  is 
exactly  similar  to  that  described,  with  this  exception,  that  on  the  third 
day  the  face  and  the  diamond-shaped  figures  and  the  moon  symbol  on 
the  back  are  painted  yellow,  with  a  red  border,  while  on  the  fourth 
day  these  symbols  are  painted  green  with  a  yellow  border.  (See  Figs. 
2,  and  3,  Plate  CX.)  Whereas  the  colored  face  and  diamond-shaped 
symbols  on  the  second  day  were  symbolic  of  the  rising  sun,  the  yellow 
surrounded  by  the  red  of  the  third  day  typified  the  overhead  sun,  or 
daylight  in  general,  while  the  yellow  border  of  the  fourth  day  typified 
the  sun  about  to  set  upon  the  grass-covered  earth.  The  diamond- 
shaped  designs  are  also  spoken  of  as  the  "eyes  of  the  Sun." 

On  these  last  two  days  the  Lodge-Maker  also  wears  a  sage  wreath 
about  his  head,  to  which  is  attached  an  eagle  breath-feather  extending 
upward,  also  a  few  small  sprigs  of  cedar.  He  also  wears  wristlets  and 
anklets  of  sage,  and  the  five  bundles  of  sage  with  eagle  breath-feathers 
attached  about  his  body.  The  bundles  of  sage  for  the  arms  are  so 
made,  that  where  the  ends  of  the  sage  come  together  they  project  out 
to  the  extent  of  about  eight  inches.      (See  Plate  CXL) 


1 62       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

The  hair  of  the  Lodge-Maker,  as  well  as  that  of  all  the  other 
dancers  during  the  ceremony,  is  either  loosely  braided  at  the  sides  or 
is  gathered  in  a  bunch  on  the  side  of  the  head  and  tied  with  a  string. 
(See  Fig.  i,  Plate  CXII.)  On  the  two  last  days  the  tear  symbols  under 
the  eyes  are  replaced  by  inverted  Y-shaped  designs.  The  presence 
of  these  tear  symbols,  and  the  change  in  their  character  from  zigzag 
lines  on  the  second  paint  to  Y-shaped  designs  with  the  third  and 
fourth  paints,  was  noted  with  all  the  other  dancers  for  the  ceremonies 
of.  both  years. 

THE   PINK-CALF  PAINT. 

This  paint  was  worn  in  1901  by  Henienit  (see  Fig.  2,  Plate  CXIL 
and  Fig.  i,  Plate  CXIIL),  Watanah  (see  Fig.  i,  Plate  CXIV.),  Wadtu, 
and  Chaui  on  all  three  days;  in  1902  it  was  not  represented. 

The  "Pink-Calf  paint"  is  second  only  in  importance  to  that  worn 
by  the  Lodge-Maker.  It  is  uniform  throughout  the  three  days,  and 
a  single  description  may  suffice  for  the  third  and  for  the  fourth  day, 
(See  Fig.  i,  Plate  CXV.) 

After  these  men  had  painted  the  entire  surface  of  their  bodies 
red,  each  one  returned  to  his  grandfather,  while  the  paint  was  still 
moist;  the  latter  drew  the  finger  tips  of  both  hands  over  the  dancer's 
entire  body,  thus  producing  a  sort  of  ribbed  or  grained  effect.  Both 
hands  up  to  the  wrist  and  both  feet  up  to  the  ankles  were  now  thickly 
coated  with  black  paint.  Then,  from  both  of  these  black  surfaces, 
extending  upward  on  the  lower  arms  and  lower  legs  was  drawn  a  tree 
symbol,  consisting  of  a  black  line  of  about  six  inches  in  length,  from 
each  side  of  which  radiated  outward  and  slightly  upward  short  parallel 
lines.  This  symbol  represented  the  cedar  tree,  typical  of  durability 
and  continuity. 

On  each  side  of  the  tree  symbol,  and  having  their  bases  terminating 
in  the  black  paint  of  the  hands  and  feet,  was  a  small  black  symbol 
about  two  inches  in  height  and  two  inches  wide,  having  straight  sides, 
but  terminating  above  in  the  shape  of  a  crescent.  These  two  symbols 
on  the  side  of  the  cedar  tree  represented  the  earth.  Over  the  breast 
of  each  dancer  was  then  painted  a  circle,  representing  the  sun;  above 
it  was  drawn  the  symbol  of  a  man  standing  upon  the  sun,  similar  to 
that  already  described  as  on  the  breast  of  the  Lodge-Maker. 

Under  each  eye  of  the  four  men  were  then  painted  the  usual  tear 
symbols,  while  over  the  forehead  were  placed  two  similar  symbols 
connected  by  a  black  line  which  extended  from  one  side  of  the  fore- 
head to  the  other.  On  the  back  of  the  rig^ht  shoulder  was  a  moon 
symbol  in  black. 


'..\S^^'iZi:M^S^: 


PL.  CXI  I.   Dancers,  1901. 

Fig.  I.    Thih<iuchhdwkan  and  companion. 
Fig.  2.     Niehhinitu  and  Henignit. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  163 

As  noted  above,  this  paint  is  known  as  the  "Pink-Calf  paint,"  in 
distinction  from  the  "Pink  paint"  about  to  be  described,  inasmuch  as 
the  paint  of  the  calf  is  supposed  to  be  lighter  in  color  than  that  of  the 
adult.  The  paint  may  be  said  also  to  be  typical  of  the  color  of  the 
Indian,  while  the  graining,or  the  parallel  lines  made  by  the  fingers  of 
the  grandfathers  over  the  surface  of  the  body,  was  said  to  represent 
the  sun's  rays.  The  black  feet  and  arms  are  typical  of  the  earth  and 
are  also  said  to  represent  the  black  hoofs  of  the  buffalo.  The  black 
dot  on  the  nose  is  symbolic  of  the  buffalo  calf. 

While  these  men  carried  from  time  to  time  during  the  ceremony, 
as  has  already  been  described,  a  sprig  of  wild  sage  in  the  right  hand, 
they  wore  no  sage  bands  on  the  head,  waist,  or  ankles,  nor  did  they 
wear  at  any  time  the  five  bunches  of  sage  about  the  loins.  These  four 
men  throughout  the  ceremony  stood  at  the  eastern  end  of  the  line. 
Henienit,  however,  was  distinguished  from  his  companions  by  standing 
out  about  two  feet  in  front  of  the  line.  The  exact  significance  of  this 
was  not  learned,  but  it  seems  to  have  been  due  to  the  ability  of  his 
grandfather,  Waakatdni,  to  confer  upon  him  a  more  signal  honor; 
for  in  this  position  he  stood  closer  to  the  sun,  thereby  suffering  more, 
and  showing  his  greater  earnestness.  On  the  last  day  of  the  ceremony 
all  of  the  other  dancers  sat  down  to  rest  from  time  to  time,  but 
Heni&nit  remained  standing  in  front  of  the  line — "standing  out." 

THE   PINK  PAINT. 

This  paint  (see  Fig.  2,  Plate  CXV.)  was  worn  in  1901  only  by 
Hisehaseh;  in  1902  it  was  not  represented.  The  Pink  paint  was  uni- 
form throughout  the  three  days.  The  color  of  its  body  paint  was 
similar  to  that  of  the  Pink-Calf  paint  just  described,  except  that  it 
was  a  deeper  shade  of  red.  The  sun  symbol  with  the  man  standing 
above  it  was  painted  on  the  breast,  as  above  described,  except  that  on 
Hisehaseh  the  sun  symbol  was  painted  solid  black,  while  he  had  a 
similar  though  smaller  sun  and  man  symbol  just  over  the  black  line 
about  his  face.  The  left  hand  as  far  as  the  wrist  and  the  right  foot 
as  far  as  the  ankle  were  painted  in  solid  black,  and  the  left  foot  and 
the  right  hand  were  similarly  painted,  but  with  black.  Just  above  the 
two  wrists  and  the  two  ankles  and  extending  upward  on  the  arms 'and 
legs,  was  a  zigzag  symbol  about  eight  inches  in  length,  terminating  in 
'a  fork,  symbolic  of  the  lightning.  The  inside  of  a  circular  line, 
which  was  drawn  around  the  face,  was  painted  a  deep  red,  cor- 
responding to  the  deep  red  of  the  left  hand  and  the  right  foot.  Under 
the  eyes  were  drawn  the  tear  symbols,  and  on  the  nose  the  symbol  of 
the  buffalo    calf.     Back  of  the  left  shoulder  w^as  a  moon  symbol  in 


164       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

black.  The  signification  of  the  difference  between  the  two  hands  and 
the  two  feet  was  not  thoroughly  comprehended.  It  is  claimed,  how- 
ever, that  the  black  hand  and  the  black  foot  were  typical  of,  and 
corresponded  to,  the  two  black-painted  poles  on  the  south  side  of  the 
lodge,  while  the  red  hand  and  the  red  foot  were  typical  of,  and  cor- 
responded to,  the  two  red-painted  poles  on  the  north  side  of  the  lodge. 

His^haseh  wore  neither  head  nor  other  sage  bands,  although  he 
had  the  five  bunches  of  sage  thrust  around  his  waist,  placed  as  above 
described.  Fastened  to  the  scalp,  so  that  it  projected  upward,  was  a 
yellow-stained  eagle  breath-feather,  the  base  of  which  had  been 
painted  red. 

During  the  time  of  the  dancing  on  the  fourth  day,  His^haseh  also 
stood  out  in  front  of  the  line,  in  a  position  corresponding  to  that  of 
HeniSnit.  He  also  thereby  distinguished  himself  by  being  closer  to 
the  sun,  whose  observation  of  the  ceremony  is  on  this  day  supposed 
to  be  unusually  keen. 

THE  YELLOW-EARTH   PAINT. 

This  paint  was  worn  in  1901  by  Hitantuh  (see  Fig.  2,  Plate 
CXVI.);  in  1902  it  was  worn  by  Heniait,  Hisehaseh,  and  Naka  (White- 
Tail)  on  three  days,  and  by  Hathdniseh  and  Hin^nwatani  (Black-Man) 
on  the  third  day  or  fourth  paint. 

The  painting  on  the  second  and  third  days  was  the  same.  (See 
Fig.  I,  Plate  CXVII.)  The  body  was  painted  in  solid  yellow  through- 
out. Both  hands  and  both  feet  were  painted  black,  while  above  the 
hands  and  feet  were  the  zigzag  lines,  already  described,  which 
in  this  case  were  said  to  correspond  to  the  serpent  represented  on 
the  Wheel,  which,  as  has  been  seen,  played  such  a  conspicuous 
part  in  the  ceremony.  On  the  breast  was  the  usual  sun  and 
Man-Above  symbol,  which  was  also  repeated,  though  smaller  in  size, 
above  the  black  line  which  surrounded  the  face.  Beneath  the  eyes 
and  on  the  nose  were  the  usual  tear  and  buffalo-calf  symbols  respect- 
ively. On  the  back  of  the  left  shoulder  was  the  moon  symbol  in  black. 
Fastened  to  a  lock  of  hair  above  the  forehead,  and  pointing  outward, 
was  a  long,  yellow-stained  eagle  breath-feather,  with  a  yellow  base. 
No  sage  wreaths  were  worn  on  these  two  days.  The  five  bunches  of 
sage,  however,  were  fastened  in  the  waist-band.  The  paint,  as  a 
whole,  on  these  two  days  may  properly  be  characterized  as  the 
"Yellow-Earth  paint." 

On  the  fourth  day,  the  paint  was  entirely  different  from  that  of 
the  second  and  third  days.  (See  Fig.  2,  Plate  CXVII.)  The  body 
was  painted  a  light  red,  while  that  part  of  the  face  enclosed  by  the 


PL.  CXVI.    Dancers.   Sixth  Day,  1901. 


Fig.  I.    Hebethengn. 
Fig.  2.     Hitantuh. 


,  'V,  }^  \  ^ 


.Tnj^q  wojjaY 


HTHA3-W 


V^^. 


?> 


yH^- 


Jl 


Pl.  CXVII.   The  Yellow-Earth  and  the  First  Yellow  Paint. 

Fig.  I.    Second  and  third  of  Yellow-paints. 
Fig.  2.     Fourth  of  Yellow-paints  (first). 


FIELD   COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,   PL.  CXVII. 


PL.    CXVIII.    Second  Yellow  Paint. 


Fig.  I.     Second  paint. 
Fig.  2.     Third  paint. 
Fig.  3.     Fourth  paint. 


VXO      .:q' 


i6<j  biiri'I 


jS^-i.^^/^ 


j-jffrAf 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  165 

circular  black  line,  which  extended  from  the  nose  to  the  middle  of  the 
forehead  and  around  the  middle  of  each  cheek,  was  painted  a  solid 
deep  red.  On  the  breast  and  on  the  forehead  were  the  sun  and  Man- 
Above  symbols,  the  sun  symbol  in  both  instances  being  solid;  under 
the  eyes  and  on  the  nose  were  the  tear  and  buffalo-calf  symbols.  Both 
hands  and  feet  were  painted  black,  while  extending  into  the  red  of  the 
arms  and  of  the  legs,  and  taking  its  origin  in  the  black  paint,  were 
the  symbols  of  the  cedar  tree,  which  has  already  been  described. 
Attached  to  a  lock  of  hair  above  the  forehead  was  a  red-stained  eagle 
breath-feather.  On  the  back  of  the  left  shoulder  was  the  usual  moon 
symbol  in  black.  As  on  the  other  days,  no  sage  wreaths  were  worn, 
though  at  his  sides  and  back  were  the  usual  five  bunches  of  sage. 

THE  YELLOW  PAINT  (FIRST). 

This  paint  was  worn  in  1901  by  Heb^thenen  (see  Fig.  i,  Plate 
CXVl.);  in  1902  it  was  not  represented. 

The  paint  was  uniform  throughout  the  three  days.  (See  Fig.  3, 
Plate  CXVn. )  The  entire  body  was  painted  yellow,  and  both  the 
hands  and  feet  were  black,  above  which,  and  extending  into  the  yellow 
field,  were  the  zigzag  lightning  or  serpent  symbols.  On  the  breast 
was  painted  the  sun  symbol,  upon  which  was  the  Man-Above  symbol. 
Under  each  eye  and  on  the  nose  were  the  usual  tear  and  buffalo-calf 
symbols,  and  on  the  back  of  the  left  shoulder  was  the  moon  symbol. 
Fastened  to  the  hair  over  the  forehead  was  a  yellow-stained  eagl^ 
breath-feather,  the  base  of  which  was  red.  At  the  sides  and  back 
were  the  usual  five  bunches  of  sage  thrust  under  the  girdle. 

THE  YELLOW  PAINT  (SECOND). 

This  paint  was  worn  in  1901  by  Niehhinitu  (see  Fig.  2,  Plate 
CXIV. ) ;  in  1902  it  was  worn  by  Hit^huu,  Hin^nibe  (Red  Man), 
Hin^nnitu  (Howling-Man),  and  Bikaanichu  (Smoking-at-Night),  but 
only  on  the  second  and  third  days,  or  the  third  and  fourth  paints. 

Throughout  the  second  and  third  days  the  body  paint  was  in  solid 
white;  on  the  fourth  day  it  was  yellow;  the  design  applied  upon  the 
body  paint  varied  from  day  to  day.  On  the  forehead,  on  all  three 
days,  were  the  tear  symbols,  and  on  the  nose  the  buffalo-calf  symbol. 
In  spite  of  the  fact,  however,  that  the  body  is  painted  white  for  two 
days,  this  paint  in  general  is  known  as  the  "Yellow  paint." 

The  additional  paint  of  the  second  day  consisted  of  two  parallel 
rows  of  black  dots  (see  Fig.  i,  Plate  CXVIIL ),  representing  (accord- 
ing to  one  informant)  rabbit  tracks,  which  encircled  both  wrists,  both 
ankles,  and  the  face,  the  latter  lines  passing  just  over  the  eyebrows 


i66       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

and  above  the  chin  and  across  the  middle  of  each  cheek.  From  the 
two  rows  of  dots  about  the  ankles  were  continued  two  similar  parallel 
rows  of  black  dots  up  each  leg  to  the  middle  of  the  breast,  where  they 
met.  Here  the  two  rows  on  the  left  side  of  the  body  continued  in  the 
form  of  a  half-circle,  and  then  passed  up  on  the  left  shoulder,  where 
they  ran  downward,  following  the  curve  of  the  shoulder,  and  so  passed 
down  the  arm,  terminating  in  the  two  rows  about  the  left  wrist. 
Similar  lines  of  black  parallel  dots  connected  the  left  ankle  with  the 
left  wrist.  A  complete  circular  sun  symbol  was  thus  formed  upon  the 
breast,  above  which  was  drawn  the  symbol  for  the  Man-Above.  On 
the  back  was  i)ow  traced  with  two  similar  rows  of  black  dots,  the 
usual  crescent-shaped  moon  symbol. 

On  the  third  day  (see  Fig.  2,  Plate  CXVIII.)  these  two  rows  of 
black  dots  were  replaced  by  three  parallel  rows  of  red  dots,  occupying  a 
correspondingly  similar  position  on  the  wrists  and  ankles  and  on  up 
the  arms  and  legs  to  the  body,  and  on  the  breast  and  on  the  body. 
The  moon  symbol  on  the  back  of  the  left  shoulder  on  this  day  was  of 
three  rows  of  red  dots. 

On  the  fourth  day  (see  Fig.  3,  Plate  CXVIII.),  upon  a  solid 
yellow  body  ground  the  three  rows  of  red  dots  of  the  third  day  were 
replaced  by  four  parallel  rows  of  dots  in  green.  To  give  an  idea  of 
the  closeness  of  the  dots  on  the  body,  it  may  be  stated  that  in  each 
of  the  four.lines  surrounding  the  face  were  twenty-six  dots,  and  that 
m  each  of  the  rows  forming  the  sun  symbol  on  the  breast  were  thirty- 
two  dots.  The  moon  symbol  on  the  back  of  the  left  shoulder  on  this 
day  was  of  four  rows  of  green  dots. 

On  the  third  and  fourth  day  with  this  paint  were  worn  a  head- 
band, belt,  wrist  and  ankle  bands  of  sage,  all  being  fashioned  in  the 
usual  manner,  bound  with  sinew,  containing  a  sprig  of  cedar  and 
having  attached  to  them  an  eagle  breath-feather. 

PAINTS   WORN    IN    THE    OFFERINGS-LODGE,    1902. 

Owing  to  the  largely  increased  number  of  dancers  during  the 
ceremony  of  1902  over  that  of  the  performance  of  the  preceding 
year,  not  only  were  new  varieties  of  paints  shown  not  used  in  the 
previous  ceremony,  but  several  combinations  of  paints  were  used, 
which  made  the  task  of  recording  the  paints  for  this  year  an  unusually 
severe  one. 

For  convenience  the  different  paints  will  be  taken  up  in  the  order 
given  for  the  previous  year,  with  a  description,  finally,  of  the  paints 
seen  this  year  for  the  first  time. 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  CXIX. 


Pl.  CXIX.    Lodge-Maker,  Wearing  the  Fourth  Lodge-Maker's  Paint,  1902. 


On  the  left  Wadtanakashi;  on  the  right  Niwaat. 


PL.  CXX.    Second  Lodge-Maker's  Paint.    Fifth  Day,  1902. 


Beginning  on  the  left:  Hathdniseh,  Yahiise,  Wadtanakashi,  and  Niwaat. 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  CXXI. 


PL.  CXXI.    Dancers.    Fifth  Day,  1902. 


On  the  left,  Hin^nwatani;  on  the  right,  D^tenin. 


FIELD   COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  CXXII. 


PL.  CXXII.    Dancers.    Fifth  Day,  1902. 


On  the  left,  Hinennitu;  on  the  right,  Henidit. 


PL.  CXXIV.    Dancers.    Fifth  Day,  1902. 


Beginning  on  the  left:  Wahubahu,  Hin^nwatani,  Niehhinitu  and  Wadtana- 
kashi. 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  CXXV. 


PL.     CXXV.     BiKAANICHU.     SEVENTH    DAY,   1902. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  167 

THE   LODGE-MAKER'S  PAINT. 

This  paint  was  naturally  worn  by  the  Lodge-Maker,  Niwaat,  and 
the  substitute  Lodge-Maker,  Waatanakashi  (see  Plate  CXIX. ),  and  for 
reasons  which  have  already  been  given,  by  Yahiise  (see  Plate  CXX.). 
The  paint  worn  by  these  three  individuals  was  exactly  similar  to  that 
worn  by  the  Lodge-Maker  and  his  companion  on  the  preceding  year, 
and  hence  need  not  be  again  described. 

Owing  to  the  fact  that  the  Lodge-Maker's  paint  is  supposed  to  be 
the  easiest  and  the  least  arduous  of  all  the  paints,  and  perhaps  for 
other  reasons,  not  fully  understood,  the  Lodge-Maker's  paint  was 
worn  on  the  first  day,  i.e.,  the  fifth  day  of  the  ceremony,  by  Hitehuu, 
Hathaniseh,  and  Hinenwatani.  (See  Fig.  i,  Plate  CXXL )  The  two 
last-named  dancers  also  wore  the  second  Lodge-Maker's  paint  on  the 
sixth  day. 

THE  YELLOW-EARTH  PAINT. 

The  second  and  third  of  the  paints  belonging  to  the  Yellow-Earth 
were  worn  by  Heniait  (see  Fig.  2,  Plate  CXXIL),  Hisehaseh  (see  Fig. 
2,  Plate  CXXIIL),  and  Naka  (see  Fig.  4,  Plate  CXXIV).  These 
three  individuals,  however,  with  the  third,  i.  e.,  on  the  sixth  day,  bore 
the  symbol  of  the  cedar  tree  on  their  arms  and  legs,  instead  of  the 
forked-lightning  symbol,  as  did  Hitantu  on  the  preceding  year.  The 
fourth  of  the  Yellow-Earth  paints  was  borne  on  the  seventh  day  by 
the  three  individuals  mentioned,  and  by  Hathaniseh  and  Hinenwatani, 
who,  as  has  been  noted,  wore  on  the  second  and  third  days  the  paint 
of  the  Lodge-Maker.  According  to  Hawkan,  those  painted  by  him 
represented  the  elk,  with  black  feet  and  a  yellow  tanned  hide. 

THE  YELLOW  PAINT   (SECOND). 

There  were  a  number  of  variations  used  in  this  paint  in  the  cere- 
mony of  this  year  which  were  correctly  noted  down  after  considerable 
difficulty.  The  second  day's  paint  was  worn  by  T^peish  (see  Fig.  i, 
Plate  CXXHL)  and  by  Hin^nnitu  (see  Fig.  i,  Plate  CXXH.),  whose 
bodies,  however,  instead  of  being  painted  white  were  painted  yellow, 
while  the  parallel  rows  of  dots  instead  of  being  black  were  pink. 

The  third  paint  was  worn  during  this  performance  by  Hitehuu, 
Hin^nibe,  Hinennitu,  and  Bikaanichu  (see  Plate  CXXV. ),  the  painting 
in  each  instance  being  exactly  similar  to  that  worn  by  Niehhinitu  on 
the  preceding  year,  with  the  exception  that  the  three  parallel  rows  of 
pink  dots  were  placed  upon  a  yellow  body  paint,  instead  of  white,  as 
in  the  preceding  year.      (See  Fig.  2,  Plate  CXXVII. ) 


i68       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

The  fourth  paint  was  borne  by  the  four  dancers  just  mentioned 
(see  Plate  CXXVI.),  and  also  by  T^peish  (see  Fig.  i,  Plate 
CXXVII.). 

The  third  paint  of  Tfipeish  (see  Plate  CXXVIII.),  not  yet 
described,  was  in  general  similar  to  that  of  Hin^nnitu  on  the  third 
day.  The  body  paint  of  TSpeish,  however,  was  yellow,  and  the 
three  rows  of  parallel  dots  were  black.  (See  Fig.  i,  Plate  CXXIX.) 
He  wore  the  usual  wreath  about  his  head  and  waist,  as  well  as  arm 
bands  and  ankle  bands  of  sage. 

It  remains,  before  passing  to  the  next  kind  of  paint,  to  describe 
the  second  paint  of  Hin^nibe,  Hin^nnitu  (see  Fig.  i,  Plate  CXXII. ), 
and  Bikaanichu,  which  was  also  worn  by  Ddtenin.  The  body  was 
painted  yellow  throughout,  including  the  face  (see  Fig.  2,  Plate 
CXXIX.).  Around  the  wrists  and  ankles  were  painted  the  usual  black 
bands,  while  on  the  breast  and  around  the  face  were  drawn  circular 
lines.  Over  the  breast  and  face  were  placed  the  two  usual  Man-Above 
symbols.  Connecting  the  circular  bands  of  the  wrists  and  ankles  with 
the  circular  symbols  on  the  breast  were  black  lines,  bounded  on  each 
side  by  black  dots.  On  the  back  of  the  left  shoulder  in  two  parallel 
rows  of  black  dots  was  a  crescent-shaped  moon  symbol.  These  dots 
were  said  to  represent  the  tracks  of  mice,  the  intervening  line  to 
represent  the  path  of  a  mouse's  tail. 

The  third  and  fourth  paint  of  D^tenin,  yet  to  be  described,  formed 
a  decided  variation  from  anything  seen  up  to  this  time.  The  entire 
body  was  yellow.  (See  Fig.  3,  Plate  CXXIX.)  On  the  breast  and 
around  the  wrists  and  ankles  were  the  usual  circular  bands  in  black, 
radiating  up  toward  the  shoulder;  down  each  arm  and  down  the 
breast,  on  to  within  an  inch  of  the  ankles,  were  rudely  drawn  zigzag 
lines,  terminating  just  above  each  wrist  and  above  each  ankle.  At 
the  termination  of  the  four  lines  and  crossing  the  lines  at  the  ankles, 
about  two  inches  above,  were  drawn  crescents  in  black,  the  two  ends 
of  each  crescent  terminating  in  a  large  circular  dot  in  red.  Around 
the  left  half  of  the  face  was  then  placed  a  single  line  of  black  dots, 
while  around  the  right  half  of  the  face  was  a  single  row  of  small  black 
crosses.  On  the  forehead,  and  above  the  sun  symbol  on  the  breast, 
were  two  usual  Man-Above  symbols.  On  the  nose  was  the  black  dot 
or  buffalo  symbol,  and  under  the  two  eyes,  which  were  painted  red, 
was  the  tear  symbol.  Upon  the  back  of  the  left  shoulder  was  drawn 
the  crescent-shaped  moon  symbol. 

No  satisfactory  account  was  obtained  of  this  paint.  The  zigzag 
lines,  however,  were  said  to  represent  the  serpent,  while  the  crescent- 
shaped  lines  on  the  arms  and  wrists  were  said  to  represent  half-moons. 


PL.  CXXVI.   Dancers.  Seventh  Day,  1902. 


On  the  left,  Hit^huu;  on  the  right,  Hin^nibe. 


FIELD   COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,   PL.  CXXVI. 


PL.  CX)«VII.    Dancers.   Seventh  Day,  1902. 


On  the  left,  His^haseh;  on  the  right,  Tgpeish. 


FIELD   COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  CXXVII. 


J,     -3TP^-V,,#' 


I 


PL.  CXXVIII.    TIpeish.    Seventh  Day,  1902. 


FIELD   COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  CXXVIII. 


soer  Ml  MHow  xiM  .xixxo  .jq 

.(jn'iBq  biiill)  riabo    :  . 


PL.  CXXIX.    Mixed  Paints  Worn  in  1902, 


Fig.  I.     Tepeish  (third  paint). 

Fig.  2.     D^tenin  and  others  (second  paint). 

Fig.  3.     D^tenin  and  others  (third  and  fourth  paints). 


Pl.  CXXX.    Dancers  Wearing  Yellowhammer  Paint.    Fifth  Day,  1902. 


In  line,  beginning  on  left,  are  VVahusa,  Bessie,  and  Hinenbai. 


',       i\    -,r«  ,  'i 


V  " 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  CXXXI. 


F-IC^. 


Pl.    CXXXI.    Second  Yellowhammer  Paint.    Fifth  Day,  1902 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  CXXXII. 


PL.  CXXXII.    Yellowhammer  Paint,  1902. 


Fig.  I.     Tliird  paint. 
Fig.  2.     Fourth  paint. 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  CXXXIII. 


PL.  CXXXIII.    Fourth  of  Yellowhammer  Paint.    Seventh  Day,  1902. 
On  the  left,  Hin^nbai;  on  the  right,  Bessie. 


May,  1903.  The  Arapaho  Sun  Dance — Dorsey.  169 

The  red  dots  terminating  the  crescents  represented  pulse-beats.  The 
dots  and  crosses  about  the  face  were  said  to  represent  sun  raj's  and 
lodges. 

The  costume  of  this  dancer  differed  somewhat  from  that  worn  by 
others  on  these  days.  There  were,  of  course,  the  five  usual  bunches 
of  sage  at  the  waist,  but  he  wore  neither  the  head  nor  waist  band  of 
sage,  nor  the  sage  wristlets  and  armlets.  Thrust  in  the  scalp-lock  and 
standing  above  the  head  was  a  yellow-stained  breath-feather. 

THE  YELLOWHAMMER  PAINT. 

This  interesting  paint,  on  account  of  its  startling  and  unusual 
symbolism  is  said  to  be  very  difficult  to  wear.  It  was  borne  on  the 
three  days  by  Yahiise,  Hinenbai,  and  Bessie  (Wood).  (See  Plate 
CXXX. )  Niehhinitu  (see  Fig.  3,  Plate  CXXIV.)  also  wore  the  first 
variety  of  this  paint,  but  on  account  of  physical  weakness  was  obliged 
to  leave  the  lodge  before  the  end  of  the  day.  Had  he  been  able,  he 
would  have  made  the  fourth  to  have  worn  this  paint  for  three  days. 

Throughout  the  three  days  the  entire  body  was  painted  yellow. 
(See  Plate  CXXXII. )  For  the  second  and  third  paints  the  hair  also 
was  painted  yellow,  the  face,  hands,  and  feet,  however,  being  painted 
red.  The  red  face,  for  the  second  and  third  paints,  was  grained. 
Above  and  below  each  eye  was  a  straight  black  line,  while  on  the  nose 
was  a  black  dot.  Beginning  just  at  the  base  of  the  chin  and  extending 
slightly  down  on  the  breast  was  a  band  of  green,  while  just  below  it 
was  a  narrow  line  in  blue.  At  the  shoulders,  elbows,  wrists,  knees,  and 
ankles,  and  on  the  center  of  the  breast,  was  painted  a  large  circle  in 
solid  blue.     On  the  back  were  painted  four  green  rectangular  symbols. 

The  third  paint  (see  Fig.  i,  Plate  CXXXII.)  differed  slightly  from 
that  just  described,  inasmuch  as  the  circular  symbol  on  the  breast  was 
painted  in  black,  while  across  each  of  the  large  blue  dots  were  two 
wary  parallel  lines,  made  by  drawing  two  fingers  across  the  dots  while 
the  paint  was  still  fresh. 

The  fourth  paint  (see  Plate  CXXXIII.)  differed  materially  from 
the  second  and  third,  while  the  paint  of  the  body  remained  yellow, 
which  now  included  the  face,  hands,  and  feet.  (See  Fig.  2,  Plate 
CXXXII.)  Around  the  face,  on  the  breast,  and  around  the  wrists 
and  ankles  were  circular  blue  lines.  Above  the  circular  line  on  the 
face  and  on  the  breast  were  the  usual  Man-Above  symbols.  Connect- 
ing the  circular  breast  symbol  with  those  of  the  wrists  and  legs  were 
the  usual  straight  lines,  passing  up  over  the  shoulders  and  down  in 
front  of  the  body.  Bordering  each  side  of  these  lines,  including  the 
wrist  and  ankle  bands,  were  rows  of  small  green  dots.     On  the  nose 


I70       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

and  under  the  eyes  were,  respectively,  the  buffalo  and  tear  symbols. 
On  the  back  of  the  left  shoulder  was  the  crescent-shaped  black  line, 
bordered  on  its  two  sides  by  blue  dots.  Sage  wreaths  for  the  head, 
waist,  wrists,  and  ankles  were  worn  on  this  day. 

Concerning  the  symbolism  of  the  Yellowhammer  paint  nothing 
was  learned  about  the  fourth  day.  Of  the  symbolism  used  for  the 
second  and  third  paints,  however,  the  following  information  was 
obtained :  The  red  face  and  hands  represented  the  sun,  or  rather  the 
heat  of  the  sun;  while  the  grained  effect  on  the  face  symbolized  the 
heat  rays,  or  perhaps  it  would  be  more  proper  to  say  that  the  effect 
represented  the  effect  of  fire,  i.  e.,  a  burnt  or  charred  appearance. 
The  various  blue  circular  designs,  as  well  as  the  blue  band  around  the 
neck,  represented  the  holes  in  trees,  or  the  nests  of  the  Yellowham- 
mer; they  were  also  said  to  characterize  tipi-rosettes  which  were 
derived  from  the  sun  and  moon.  The  yellowhammer,  it  was  explained, 
controls  the  fire,  and  is  particularly  influenced  by  the  rays  of  the 
sun.  The  four  rectangular  designs  in  green  on  the  back  typify  the 
vegetation  of  the  earth  in  general,  and  were  said  to  be  life-elements, 
being  four  in  number,  to  correspond  to  the  Four-Old-Men,  who  were 
directly  responsible  for  the  breath  of  life  of  all  living  creatures. 

THE  CIRCULAR  OR  THUNDER  PAINT. 

This  paint  was  worn  on  all  three  days  by  VVahdbahu  (see  Plate 
CXXXIV.),  Chanitoe  (see  Plate  CXXXV.),  Hochoawa  (Running- 
Crow),  Neheheih  (Little-Bird),  KakUyanake  (Scabby-Bull)  (see  Plate 
CXXXVL),  and  Watdwateeh  (Come-up-HiU). 

The  body  (see  Fig.  i,  Plate  CXXXVIL),  including  the  hair,  was 
for  the  second  paint,  painted  red.  Over  this  on  the  hair,  hands,  and 
feet,  was  painted  an  additional  coat  of  red,  bright  in  color.  In  the 
center  of  the  breast  and  on  the  joints  at  the  shoulders,  elbows,  groin, 
knees,  and  ankles  were  painted  bright  red  circular  spots,  surrounded 
with  a  black  line. 

For  the  third  paint  (see  Fig.  2,  Plate  CXXXVIL)  the  body  color 
was  yellow,  the  face,  hair,  hands,  and  feet  being  red,  as  before,  with 
the  same  red  circular  dots  at  the  same  places  on  the  body. 

The  fourth  paint  (see  Fig.  3,  Plate  CXXXVIL)  consisted  of  a 
deep  black  body  ground,  grained  all  over  the  body  with  red  hands  and 
feet,  and  the  red  circles  at  the  joints  on  the  breast,  as  on  the  two 
preceding  days.  Hochdawa  on  this  day  held  in  his  right  hand  a  black 
eagle-tail  feather. 

On  all  three  days,  on  the  back  was  painted,  just  over  the  region 


v.iti'cr  the 


PL.  CXXXIV.    Wahubahu,  Wearing  Second  Circular  or  Thunder  Paint. 
Fifth  Day,  1902.  ...  , 


coat  OS  red,  brj^;;'  ■    lucrnvu.      <. 


'  wver  the  regw>; 


FIELD  COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  CXXXIV. 


PL.  CXXXV.    Chaatani,  Wearing  Fourth  Circular  or  Thunder  Paint. 
Seventh  Day,  1902. 


FIELD   COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,   PL.  CXXXV. 


PL.  CXXXVI.    Kakuyanake,  Wearing  Fourth  Circular  or  Thunder  Paint. 
Seventh  Day,  1902. 


FIELD   COLUMBIAN    MUSEUM. 


ANTHROPOLOGY,  PL.  CXXXVI. 


.m 


•TMiAS  naoMUHT  «o  wuuo«iO   .IIVXXXO  u<» 


.jnir,q  bnoa^S 

jnifiq  biidT 

.taisq  dtiuo  • 


.1  .^ii 


PL.  CXXXVII.   Circular  or  Thunder  Paint. 


Fig.  I.    Second  paint. 
Fig.  2.    Third  paint. 
Fig.  3.    Fourth  paint. 


May,  1903.         The  Arapaho  Su?j  Dance — Dorsev.  171 

of  the  kidneys,  a  large  red  circular  spot  outlined  in  black.  With 
the  second  and  third  paints  were  worn  head,  waist,  wrist,  and  ankle 
bands  of  sage.  In  the  head  bands  were  eagle  breath-feathers,  stand- 
ing upright. 

In  regard  to  the  symbolism  of  these  three  interesting  paints  it  was 
stated  that  the  red  spots  represented  the  eyes  and  nostrils  of  the 
sun,  and  also  of  Young-Bull,  while  the  black  dot  of  the  fourth  paint 
represented  the  condition  of  the  dancer  as  having  been  consumed  by 
fire.  Before  applying  the  dots,  the  grandfather  took  a  bite  of  root 
and  ejected  spittle  upon  the  dancer's  body  where  the  dots  were  to  be 
applied — "to  make  them  cool." 

Concerning  the  origin  of  this  Circular  or  Thunder  paint,  the  fol- 
lowing story  was  obtained : 

ORIGIN  OF  THE  CIRCULAR  OR  THUNDER  PAINT. 

When  the  Sun  Dance  was  taking  place  years  ago,  buffalo  being 
plentiful  at  that  time,  and  the  different  tribes  being  on  unfriendly 
terms,  a  young  man  made  a  vow  for  his  own  benefit,  to  suspend  him- 
self with  rawhide  rope  from  the  center  fork.  So  on  the  second  day, 
his  friends  provided  articles,  such  as  pieces  of  calico,  parfleches,  com- 
forts, etc.,  for  him  to  lie  on.  His  body  was  pierced  at  the  breast  and 
pins  were  placed. 

The  young  man  took  courage  and  walked  about  from  one  side  to 
the  other,  blowing  his  bone  whistle.  The  singing  was  kept  up  for 
some  time,  for  it  was  a  hard  task  for  the  young  man  to  break  loose 
from  the  rope.  But  he  kept  dancing  and  pulled  back  from  time  to 
time,  until  a  vision  came  upon  him,  which  was  the  Sun  Dance,  being 
painted  as  in  an  actual  Sun  Dance.  He  saw  these  paints  at  different 
times;  and  after  seeing  the  last  one,  which  was  black  paint  (Thunder), 
he  broke  loose. 

The  people  thought  that  he  had  some  courage  to  get  through ;  at 
the  same  time  they  praised  him  because  he  did  not  get  discouraged. 
He  kept  to  himself  what  he  had  then  seen,  until  another  Sun  Dance 
was  held.  At  this  time  he  went  to  the  Sun  Dance  priests  and  told 
them  the  circumstances  of  his  piercing,  and  that  he  wished  to  be  given 
the  privilege  of  painting  himself,  on  all  days,  during  the  ceremony,  to 
which  the  priests  consented,  while  they  welcomed  the  painting  as 
another  element  of  life  to  the  tribe.     . 

So  when  the  ceremony  took  place,  the  first  paint  was  shown,  and 
so  on  the  other  days.  This  paint  was  charming  to  the  spectators  and 
to  others. 


172       Field  Columbian  Museum  — Anthropology,  Vol.  IV. 

After  the  chief  priests  and  servants  saw  the  new  paint  they 
thanked  the  young  man  and  placed  his  gift  on  the  left  side  of  the 
Lodge-Maker's  stand.  One  of  the  priests  did  not  like  the  painting, 
and  considered  it  as  a  medicine  paint,  which  means,  not  holy  before 
the  sight  of  the  Father.  In  all  the  Sun  Dance  ceremonies  that  took 
place,  where  this  paint  was  worn,  one  of  the  priests  was  jealous  of 
the  young  man;  but  in  the  long  run  this  young  man  thought  best  to 
reverence  the  priest,  so  he  gave  up  a  pony  to  the  jealous  priest,  so  that 
he  offered  no  further  objections. 

Those  who  heard  the  story  of  this  young  man  praised  him,  and  at 
once  welcomed  the  paint,  which  was  the  same  as  had  been  used  on  the 
young  man,  for  his  personal  good. 

GENERAL  OBSERVATIONS  ON  THE   PAINTS. 

With  all  the  paints,  the  dancers  wear  the  five  bunches  of  sage  at 
their  waist,  one  on  each  "corner  of  the  body"  and  one  at  the  middle 
of  the  back ;  these  are  for  the  Four-Old-Men  and  Man-Above.  Why, 
with  some  paints,  sage  wreaths  are  worn,  and  not  with  others,  is  not 
known.  Before  any  of  the  sage  accessions  are  fastened  on  the  dancers 
by  the  grandfathers,  they  motion  them  before  the  dancer  four  times, 
and  then    place  them  in  position. 

With  all  paints  is  worn  a  black  dot  on  the  nose,  for  the  buffalo 
calf,  and  tear  symbols  under  the  eyes.  The  tear  symbols  with  the 
first  paint  are  short,  irregular  lines;  with  the  second  and  third  paints 
they  are  an  inverted  Y-shape. 

The  circles  about  the  waist  and  ankles,  as  well  as  the  wrist  and 
ankle  bands  of  sage,  are  symbolic  of  the  Four-Old-Men.  On  the 
breast  and  left  shoulder  are  respectively  symbols  of  sun  and  moon, 
who  are  grandfather  and  grandmother  of  the  Four-Old-Men.  Above 
the  breast  sun  symbol,  or  over  the  face  sun  symbol  is  the  symbol  of 
Man-Above,  the  Father.  This  symbol  is  often  found  on  both  breast 
and  face,  but  it  should  not  occur  in  more  than  one  place,  the  other 
symbol  being  that  of  the  cedar. 


XI.— The  Relation  of  the  Transferrer  to  the 
Lodge-Maker's  Wife. 

Concerning  the  subject  under  discussion  on  this  occasion,  great 
difference  of  opinion  evidently  exists  among  the  Arapaho  as  a  tribe. 
The  following  account  was  written  after  several  conversations  with 
Hdwkan  on  the  subject  during  his  stay  in  Chicago.     Supplementary 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  173 

information  was  also  obtained  by  Cleaver  Warden  during  the  winter, 
from  an  Arapaho  named  Black-Hand,  and  from  this  it  would  seem 
that  actual  intercourse  between  the  grandfather  of  the  Lodge-Maker 
and  the  Lodge-Maker's  wife  does  not  take  place,  although  it  is  admit- 
ted that  "the  temptation  is  great." 

In  former  times,  in  accordance  with  the  fixed  rites  of  the  cere- 
mony, the  grandfather  of  the  Lodge-Maker,  i.  e.,  the  Transferrer,  and 
the  Lodge-Maker's  wife,  on  the  night  of  the  day  following  the  erec- 
tion of  the  Rabbit-tipi,  had  intercourse.  This  usually  occurred  at  or 
shortly  after  midnight,  the  chief  priest  of  the  ceremony  leaving  the 
Rabbit-tipi  first,  and  calling  out  the  request  that  all  people  remain 
inside  of  their  tipis  and  that  every  one  be  quiet.  Then  the  wife, of 
the  Lodge-Maker  would  leave  the  Rabbit-tipi  with  the  grandfather, 
who  carried  with  him  the  ceremonial  pipe.  Both  of  them,  with  the 
woman  in  the  lead,  would  proceed  to  the  distance  of  about  a  hundred 
yards  toward  the  east,  where  each  would  offer  a  prayer,  in  which  both 
emphasized  the  fact  that  they  were  about  to  do  that  which  had  been 
commanded  at  the  time  of  the  origin  of  the  ceremony,  and  that  what 
they  were  about  to  do  was  in  keeping  with  the  wish  of  their  Father. 
The  woman,  naked,  would  lie  down  on  her  back.  The  Transferrer 
stood  by  her  side  and  prayed  to  Man-Above  and  to  the  subordinate 
gods  for  their  favor  toward  all  the  Arapaho  tribe.  He  then  offers  her 
body  to  Man-Above,  the  Grandfather,  the  Four-Old-Men,  and  various 
minor  gods.  During  the  act  of  intercourse,  the  Transferrer  places  in 
the  woman's  mouth  a  piece  of  root  which  he  has  brought  with  him 
from  the  Rabbit-tipi.  On  the  return  of  the  two  to  the  Rabbit-tipi, 
the  chief  priest  would  again  go  outside,  and  would  call  out  in  a  loud 
voice,  "All  go  ahead  now  with  your  affairs." 

Formerly  this  rite  was  also  performed  on  the  second  night  follow- 
ing, i.  e.,  on  the  night  of  the  completion  of  the  Offerings-lodge,  with 
the  altar,  and  occurred  before  the  first  dance,  but  after  the  dancers 
had  entered  the  lodge.  On  this  occasion  they  went  to  the  west  of  the 
lodge  a  few  hundred  feet.  On  their  return  to  the  Rabbit-tipi,  the 
woman  leads,  and  as  they  enter  she  addresses  her  husband,  saying: 
"I  have  returned,  having  performed  the  holy  act  which  was  com- 
manded," whereupon  he,  together  with  the  other  dancers,  says, 
"Thanks!"  and  they  pray  for  her  succe'ss. 

According  to  my  informant,  the  Transferrer  represents  the  sacred 
Wheel  or  AU-Powerful  (Man-Above),  while  the  woman  represents  the 
mother  of  the  tribe.  The  root  placed  in  her  mouth  she  hands  to  her 
husband  on  entering  the  Rabbit-tipi;  it  represents  the  seed  or  food 
given    by   the   All-Powerful,    while    the  issue   of    their  connection   is 


174       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

believed  to  be  the  birth  of  the  people  hereafter,  or  an  increase  in 
population.  It  is  also  a  plea  to  all  protective  powers  for  their  aid  and 
care.  "If  the  Transferrer  keeps  his  heart  straight  and  his  hands  from 
doing  evil  to  the  woman,  it  is  a  blessing  to  the  people  and  means  an 
increase  in  population  and  stock  and  property.  But  if  the  Transferrer's 
conduct  is  such  as  to  wrong  the  woman,  even  in  the  slightest  (the 
temptation  being  very  great)  the  connection  does  not  benefit  the 
people,  and  moreover,  the  Transferrer's  life  would  be  shortened." 

It  is  interesting  to  compare  the  above  statement,  based  on 
Hdwkan's  and  Black-Hand's  description,  with  the  following  account 
of  observations  which  the  author  actually  made  during  the  ceremony  of 
1902. 

Just  before  the  departure  from  the  Rabbit-tipi  of  the  grandfather 
and  the  wife  of  the  Lodge-Maker,  Hawkan  turned  to  the  author  and 
made  a  statement  something  like  the  following:  "You  are  now  to  see 
this  ceremony  (the  Sun  Dance)  for  the  second  time.  We  have  kept 
nothing  from  you  up  to  the  present,  and  we  are  anxious  that  you 
should  see  the  entire  ceremony.  You,  therefore,  now  have  the  privi- 
lege of  going  out  with  Nishnat^yana,  where  you  will  see  what  actually 
takes  place.  You  will  see  that,  contrary  to  common  belief,  there  is 
nothing  wrong  in  the  rite  about  to  be  performed."  Thinking  it  pos- 
sible that  some  element  of  the  ceremony  which  the  author  then  wit- 
nessed might  have  been  purposely  omitted,  he  determined  to  see, 
without  the  knowledge  of  the  priests,  the  second  performance,  which 
took  place  two  nights  later.  This  he  did,  but  the  ceremony  was  in 
every  detail  similar  to  the  first.  A  description  of  a  single  evening, 
therefore,  may  suffice: 

It  lacked  but  a  few  minutes  of  midnight  on  the  night  of  the  second 
day  of  the  Rabbit-tipi,  when  one  of  the  Criers  was  heard  outside,  com- 
manding the  people  to  be  silent  and  to  remain  within  doors.  Imme- 
diately after  this  announcement  the  drumming  and  singing,  which  had 
been  carried  on  during  the  evening  up  to  this  time  by  several  of  the 
warrior  societies  in  different  lodges  here  and  there  in  the  camp-circle, 
suddenly  ceased.  Debithe  and  Nishnat^yana  left  the  Rabbit-tipi  for 
a  few  moments,  soon  returning.  Presumably  the  object  of  this  move 
was,  that  Debithe,  who  was  grandfather  for  the  Lodge-Maker  dur- 
ing the  ceremony  of  1901,  might  explain  to  Nishnat^yana  the  part 
which  he  was  to  perform  in  the  approaching  rite.  The  wife  of  the 
Lodge-Maker  left  her  place  behind  and  to  the  north  of  the  buffalo 
skull,  which  was  her  accustomed  place  while  on  the  Rabbit-tipi,  and 
went  over  to  Debithe,  who  had  been  seated  on  the  south  side  near  the 
door.     She  placed  her  hands  on  his  head,  and  uttered  a  prayer.      In  a 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  175 

similar  position  she  prayed  over  Nishchdnakati  and  Hdwkan,  and  then 
resumed  her  position  in  the  circle.  Hiwkan  took  a  forked  stick  and 
placed  several  live  coals  to  the  northwest  of  the  fireplace  in  the 
open  space  to  the  north  and  east  of  the  buffalo  skull.  The  Lodge- 
Maker,  followed  by  his  wife,  arose  and  proceeded  in  a  sunwise  circuit 
to  a  point  southwest  of  the  skull,  where  the  Lodge-Maker  touched  the 
ground  with  his  fingers  and  took  up  the  straight-pipe.  He  then  sat 
down  by  the  side  of  Watangaa  on  the  south  side  of  the  lodge,  with  his 
wife  outside,  Nishnat^yana  having  taken  up  a  position  behind  the 
Wheel.  Hdwkan  put  spruce  leaves  on  the  coals.  He  then  picked  up 
the  rattle  lying  south  of  the  skull,  making  four  passes  toward  it.  All 
in  the  Rabbit-tipi  now  bit  off  a  small  portion  of  dog  root  and  began 
chewing  on  it.  Hawkan  gave  to  Nakaash  (Sage)  some  cedar  leaves, 
which  he  placed  upon  live  coals,  first  having  placed  the  latter  on  the 
footprint  made  by  the  Lodge-Maker  and  his  wife  as  they  passed  over 
the  first  incense  in  making  the  circuit  to  the  south  side  of  the  lodge. 
Chanitoe  took  up  the  pipe-stem  and  began  beating  the  pack  containing 
the  badger-hide,  in  unison  to  the  shaking  of  the  rattle  by  Hawkan. 
The  light  inside  the  lodge  was  extinguished,  and  Hawkan,  Chanitoe, 
and  two  or  three  of  the  other  priests  began  the  sacred  Rabbit-tipi  song. 

Nishnateyana  put  on  the  buffalo  robe  containing  the  pieces  of 
rabbit-skin  with  the  fur  side  out,  while  the  wife  of  the  Lodge-Maker 
threw  around  her  a  buffalo  robe,  the  fur  side  out.  With  this  robe 
gathered  around  her  she  removed  her  clothing.  Debfthe  left  the  lodge 
a  moment  and  brought  in  their  moccasins,  for  as  has  already  been 
stated,  no  one  enters  the  Rabbit-tipi  except  barefooted.  The  Lodge- 
Maker  took  the  straight-pipe  to  the  grandfather,  proceeding  sunwise. 

All  preparations  for  the  departure  having  been  made,  all  remained 
exceedingly  quiet,  while  the  second  sacred  song  was  sung,  there  pre- 
vailing in  the  lodge  an  air  of  intense  emotion.  The  grandfather  arose, 
holding  in  his  right  hand  the  straight-pipe,  the  bowl  of  which  pointed 
upward.  Followed  by  the  wife  of  the  Lodge-Maker,  he  left  the  lodge, 
making  a  sunwise  circuit  as  they  passed  out,  and  stepping  over  the 
rising  incense  placed  by  Nakaash'.  Having  gained  the  outside  of  the 
lodge,  they  proceeded  northward  to  a  point  about  half-way  between 
the  lodge  and  the  camp-circle.  Here  they  stood  side  by  side  for  a 
few  moments  facing  the  north  and  praying.  Nishnateyana  maintain- 
ing this  position,  the  woman,  with  an  exceedingly  rapid  movement, 
threw  her  blanket  upon  the  ground  and  fell,  thus  exposing  her  body 
to  the  moon.  This  she  did  twice,  whereupon  they  started  back  to  the 
Rabbit-lodge,  the  woman  in  the  lead,  tightly  enveloped  in  her  buffalo 
robe.      In  their  return,  they  halted  four  times. 


176       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

The  singing  in  the  Rabbit-tipi  had  continued.  Having  approached 
within  about  a  hundred  feet  of  the  lodge,  the  woman  called  out  in  a 
loud  voice  the  name  of  her  husband.  This  she  did  four  times,  where- 
upon the  Lodge-Maker  went  out,  put  his  hands  on  her  head,  and 
received  into  his  mouth  the  piece  of  root  from  her  mouth.  He  then 
went  to  the  grandfather,  and  also  received  from  his  mouth  a  piece  of 
root.  The  grandfather  taking  the  lead  again,  they  approached  and 
entered  the  lodge.  He  then  took  from  him  the  straight-pipe  and  pro- 
ceeded to  the  Rabbit-tipi,  which  he  entered,  and  remained  standing 
near  the  north  door  until  the  singing  ceased.  He  then  said,  "I  have 
brought  back  the  pipe,"  whereupon  all  said,  "Thanks!"  The  pipe 
was  then  placed  in  its  usual  position.  The  Lodge-Maker  then  went 
to  Nakadsh,  to  Debithe,  and  Thiyeh,  where  he  placed  his  two  hands 
upon  the  head  of  each.  He  transferred  from  his  mouth  to  theirs  a 
portion  of  the  root,  which  he  had  received  from  his  wife  and  from  the 
grandfather  outside  the  lodge. 

This  same  performance  was  repeated  on  the  Second  night  after 
this.  The  time  was  again  about  midnight,  on  the  day  of  the  comple- 
tion of  the  Offerings-lodge  and  its  accompanying  altar.  On  the  return 
of  the  two  began  the  dancing  of  the  Sun  Dance  proper.  The  follow- 
ing observations  are  from  one  of  my  informants:  "The  grandfather 
spat  on  the  ground  five  times,  beginning  at  the  southeast,  then  south- 
west, northwest,  northeast,  and  in  the  center,  thus  forming  a 'wallow.  * 
Upon  this  wallow  is  spread  the  buffalo  robe  of  the  woman  and  here 
the  intercourse  takes  place,  the  woman  facing  the  moon.  It  repre- 
sents intercourse  between  sun  and  moon,  bringing  strength  to  the 
people  and  increase  to  the  tribe,  for  thus  were  created  the  beings  of 
the  world. 

"The  root  given  and  received  by  the  husband,  is  the  seed  of  the 
grandfather.  The  straight-pipe  is  the  penis  or  root  of  man ;  so  the 
intercourse  happens  between  the  sun  and  moon  for  a  blessing  upon 
the  tribe. 

"The  grandfather  takes  the  lead  in  going  out  of  the  lodge  and 
the  wife  on  returning  brings  back  the  word  that  it  was  done.  The 
husband,  hearing  the  report,  gives  thanks  for  the  seed,  and  goes  out 
to  receive  it  by  kissing  her.  He  chews  the  root  and  rubs  himself  with 
it.  The  grandfather,  being  the  sun,  makes  things  to  grow;  and  the 
grandchild,  being  the  moon,  gives  birth  to  the  beings  of  the  world.^* 

It  is  interesting  to  compare  with  the  above  the  following  com- 
ments on  this  rite,  obtained  from  a  priest  of  the  Northern  Arapaho. 

The  wife  of  the  Lodge-Maker  is  looked  upon  as  the  mother  of  the 
tribe.     She  ceases  to  be  such  when  the  ceremony  is  over,  after  the 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  177 

people  hang  the  children's  clothing  on  the  forks  and  branches.  She 
obtains  temporal  blessings  for  the  people,  but  has  no  special  relation- 
ship with  the  tribe. 

The  symbolic  connection  occurs  twice,  because  the  people  wish 
to  reach  old  age.  There  is  no  difference  in  the  manner  of  the  two 
occurrences.  The  giving  away  of  the  wife  is  from  the  Old-Man  of  Day 
to  the  Old-Man  of  Night,  leaving  out  two  of  the  four  Old-Men.  The 
desire  of  the  Lodge-Maker  is  to  live  and  prosper  to  old  age.  When 
the  connection  takes  place  the  buffalo  personifies  the  moon ;  therefore, 
she  exposed  her  body  to  the  moon.  Moon  was  married  to  the  human 
woman,  and  so  the  first  intercourse  happened.  The  woman  gave  birth 
to  a  boy,  called  Lone-Star,  which  is  the  morning  star.  The  wife 
represents  the  hilman  being,  Thawwathenennetare — Human  Being,  or 
Rising  (from  earth)  Person.  After  she  receives  the  stroke  she  gives 
birth  to  human  seed,  just  as  Blue-Feather's  son  was  born.  Young- 
Buffalo  is  the  son  of  Blue-Feather;  but  Splinter-Foot  did  not  have  any 
child  from  Lone-BuTl,  for  the  reason  that  she  was  soon  taken  back. 

The  moon  is  our  mother.  She  gave  birth  to  a  lone  star,  which  is 
the  morning  star.  When  the  sun  and  moon,  then  children  of  heaven 
and  earth,  courted  the  creatures  below  for  wives,  the  moon,  being  in 
the  form  of  a  porcupine,  took  up  the  human  woman,  by  means  of  the 
extension  of-  a  cottonwood.  The  sun,  having  succeeded  in  enticing 
the  toad,  took  it  up  to  the  Father.  The  brother  hated  the  sister-in- 
law  on  account  of  her  looks  and  also  on  account  of  her  habits.  The 
suspension  of  the  wife  (eloped  with  the  moon)  is  imitated  by  the 
piercing  and  suspending  of  the  dancers.  The  toad  got  mad  at  her 
sister-in-law  and  jumped  to  the  breast  of  the  moon,  and  has  remained 
there  ever  since.  That  is  what  is  seen  on  the  face  of  the  moon.  That 
picture,  visible  to  the  naked  eye,  is  the  flow  of  the  woman.  The  toad's 
appearance  corresponds  to  that  of  a  pregnant  woman.  The  child 
which  went  down  with  the  mother  remained  on  earth  for  a  while,  and 
then  ascended.  He  is  that  morning -star  following  the  mother  and 
father.  The  rising  of  the  Morning  Star  tells  the  origin  of  the  human 
race.  When  the  grandfather  goes  out  with  the  woman  at  night,  the 
woman  returns  with  the  root,  meaning  the  gift  from  him.  The  grand- 
father personifies  the  sun,  and  the  woman  the  moon. 

The  first  menstruation  happened  with  the  woman  who  eloped  with 
the  moon,  by  their  connection.  This  flow,  or  menstruation,  means  the 
child.  For  the  drinking  of  blood,  note  the  story  of  Clotted-Blood. 
The  people,  men  and  women,  first  drank  of  the  blood  when  Garter- 
Snake  received  the  big  Offerings-lodge.  That  sweet-water  is  the 
blood  that  was  shed  by  the  woman.     That  water  is  made  of  vegeta- 


178       Field  Columbian  Museum — Anthropology,  Vol,  IV. 

tion.  We  eat  the  animals,  drink  the  tea  of  weeds,  herbs,  roots,  and 
barks  of  trees,  and  eat  the  fruits  of  all  kinds,  and  thus  we  have  the 
impulse  to  propagate  our  kind. 

When  the  Father  (heaven  or  sky)  told  the  moon  (son)  that  he 
was  glad  to  have  a  grandchild  from  his  daughter-in-law,  it  happened 
unexpectedly.  "My  daughter-in-law,  I  think  it  is  not  wise  for  you  to 
give  birth  in  that  way ;  so  you  shall  have  ten  moons  in  which  you  shall 
have  a  birth,  so  that  you  may  know  from  the  beginning  to  the  final 
occurrence,"  said  the  sun;  that  is  to  say,  from  connection  to  birth. 
The  blood  shall  be  followed  by  a  child.  There  shall  be  a  discharge 
of  blood  for  four  days,  making  one  month  bloody  (left  out),  then  eight 
months  counted,  as  without  blood,  then  the  last  month  (tenth)  is  very 
bloody;  from  the  small  finger  of  the  left  hand  to  that  of  the  right.  To 
enable  her,  she  was  told,  to  count  her  husband  (moons)  by  the  fingers. 
So  after  the  flow  (one  month)  the  woman  counts  the  moons  until  the 
ninth  month.  If  she  does  not  have  the  flow,  she  then  informs  her 
husband  and  mother  about  it.  Then  the  woman  is  pregnant.  The 
Indians  are  very  fond  of  boiling  the  blood  of  animals  to  drink,  for  the 
fact  that  they  are  all  descended  from  it. 

XII.— Offerings-Lodge  Songs. 

All  the  songs  have  similar  tunes,  in  accordance  with  the  noises  in 
nature.  They  come  from  different  persons,  who  hear  them  in  their 
dreams,  but  do  not  see  the  Offerings-lodge.  It  is  the  Lodge-Maker 
who  sees  the  lodge  constantly  in  his  dreams,  but  he  seldom  hears  or 
knows  any  song.  When  some  one  has  made  a  vow  for  an  Offerings- 
lodge,  one  or  two  songs  are  introduced.  Some  of  the  songs  contain 
words,  calling  upon  some  spirits  or  gods,  but  most  of  them  are  made 
up  by  the  singers.  Some  of  the  songs  originated  from  other  tribes, 
but  they  are  not  harmonious.  Those  that  contain  the  words  arouse 
the  feelings  of  all  the  people,  as  well  as  the  dancers.     For  instance: 

"My  Father,  my  Father,  surely  I  am  a  different  man!" 

"Look  down  upon  me!" 

"The  Sun  will  surely  be  merciful  to  us!" 

"The  Young-Bull  stands  still!" 

But  the  majority  of  the  songs  are  almost  meaningless,  or  are 
intended  to  try  to  divert  or  distract  the  attention  of  the  dancers,  and 
are  of  a  joking  nature.     Such  are: 

"Old-Turkey,  now  useless,  looks  across  the  lodge!" 

"That  short  man  struck  his  wife's  face  secretly!" 

"Secretly,  there  is  good  time!" 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  179 

"Turkey,  take  him  home  from  here!" 
"He  is  singing,  but  he  is  saucy!" 
"You  are  a  darkey,  don't  smile  at  me!" 
"Sleep  with  him,  for  he  is  not  married!" 
"He  smokes  twice!" 
"Leave  your  husband,  he  is  ugly!" 

"That  ugly  person  is  trying  to  sing;  he  thinks  he  is  a  beauty!" 
"The  man  with  a  dark  complexion  laughs  at  me!" 
Formerly,  there  were  a  great  many  songs  with  serious  words,  but 
gradually  they  have  been  forgotten. 


XllI.—TORTURE. 

No  forms  of  torture  have  for  many  years  been  practiced  in  con- 
nection with  the  Offerings-lodge.  This  is  due,  not  so  much  to  the 
decree  of  the  Indian  Department  forbidding  it,  as  to  the  fact  that  the 
reason  for  the  torture  no  longer  exists.  The  undergoing  of  the  tor- 
ture on  the  part  of  those  who  were  to  dance  was  strictly  a  rite  and 
was  only  undertaken  with  the  idea  of  war  in  view,  it  being  supposed 
that  by  undergoing  this  torture  they  would  escape  all  danger  in  battle. 

In  former  times,  when  torture  was  practiced,  it  came  on  the  third 
day  of  the  ceremony,  i.  e. ,  on  the  day  of  the  third  paint,  or  on  the  day 
following  the  completion  of  the  lodge  and  its  altar.  Those  who  were 
to  undergo  torture  danced  during  the  other  days  of  the  ceremony  in 
line  with  the  other  dancers. 

The  Lodge-Maker  never  underwent  torture.  According  to  my 
informant,  there  was  only  one  form  of  torture  among  the  Arapaho. 
By  this  method  the  priest  inserted  two  small  wooden  skewers  in  the 
breast  of  the  devotee,  which  were  fastened  to  the  ends  of  a  lariat,  the 
other  ends  of  which  were  made  fast  to  the  two  slits,  already 
described,  in  the  buffalo  robe  in  the  fork  of  the  center-pole.  No 
special  paint  belonged  with  torture,  the  devotee  on  that  day  wearing 
the  paint  which  he  would  have  worn  otherwise  as  one  of  the  dancers. 

PIERCING  THE  EARS. 

In  connection  with  torture  should  be  mentioned  a  custom  formerly 
much  in  vogue,  and  which  to-day  is  practiced  in  a  ceremonial  manner. 
Reference  is  made  to  piercing  the  ears  of  children  by  the  Sun  Dance 
priests.  According  to  the  former  custom,  all  children  born  since  the 
erection  of  the  last  lodge,  or  who  for  any  cause  whatsoever  had  not 
before  been  treated,  were  brought  by  the  mothers  and  fathers  on  the 


i8o       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

afternoon  of  this  the  third  day,  where  to  the  east  of  and  near  the 
center-pole  their  ears  were  pierced  with  a  porcupine  quill,  generally 
by  the  priest,  or  by  others,  who  from  their  position  were  permitted  to 
perform. 

The  piercing  of  the  ear  typified  the  striking  of  the  child  by  a 
lightning  bolt,  and  thereafter  it  was  supposed  proof  against  arrows  of 
the  enemy  in  times  of  war.  At  the  present  time  children  are  still 
brought  to  the  center-pole  by  their  parents,  who  also  provide  them- 
selves with  presents  of  calico  or  of  a  pony,  to  be  given  to  the  priest, 
who  now  steps  up,  and  taking  the  child  by  the  ear,  makes  a  motion  as 
if  to  pierce  it.  According  to  Hdwkan,  this  custom  of  piercing  the  ears 
at  the  time  of  the  Sun  Dance  was  learned  from  the  Cheyenne,  who 
retain  this  same  custom  in  a  similar  form  to-day.  According  to  the 
same  authority,  the  ears  of  the  children  of  the  Arapaho  were  formerly 
pierced  by  medicine-men,  but  always  in  the  privacy  of  the  lodge,  and 
irrespective  of  the  season  of  the  year." 

Of  interest  in  connection  with  this  statement  of  Hawkan's  is  the 
following  account  of  a  ceremonial  piercing  which  took  place  some  years 
ago,  the  story  being  given  as  it  was  obtained  from  the  narrator: 

PIERCING  THE   EARS,   ARAPAHO  STORY  OF. 

"The  Arapaho  think  much  of  their  children,  from  birth  to  adult 
age.  Indian  children  are  brought  up  'easily,'  and  are  therefore  very 
soft.  Young  men  have  their  pleasures  entirely  independent  of  their 
parents.  They  are  to  a  certain  extent  under  obligations  to  attend  to 
the  ponies  for  their  parents.  They  have  all  the  time  they  wish  to 
sleep,  and  they  get  up  whenever  they  wish.  Their  parents  do  not 
disturb  their  rest.  There  are  some  who  constantly  watch  their  chil- 
dren in  order  to  make  them  useful  in  life. 

"It  is  told  by  our  grandparents  that  certain  young  men  were  very 
lazy  and  dirty,  and  their  fathers  would  criticise  them  harshly  for  their 
conduct.  These  young  people  finally  made  up  their  minds  to  be  great 
in  the  tribe,  so  they  started  out  voluntarily  in  search  of  'distant  won- 
ders,' after  washing  and  dressing  themselves  neatly.  All  these  young 
men  were  the  children  of  the  chiefs  and  well-to-do  families,  but  were 
by  nature  too  lazy  to  wash  themselves  or  to  comb  their  hair.  Some 
of  them  were  of  great  annoyance  to  the  tribe,  and  disgraced  their 
relatives. 

"In  order  that  the  child  may  be  welcome  at  strange  places  by 
different  tribes;  that  he,  though  young,  may  show  his  good  will  toward 
brethren;  that  he  may  anticipate  going  through  a  battle  and  receiving 
a  wound,  his  ears  are  pierced;  thus  the  whole  tribe  sees  him  in  pain, 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  181 

and  hence  the  remainder  of  his  life  shall  be  in  peace  and  joy.  Instead 
of  the  enemy  inflicting  a  deadly  blow,  this  piercing  of  the  ears  answers 
the  child's  fate. 

"If  the  young  child  is  unhealthy  and  of  great  expense  to  its 
parents,  the  father  or  mother  pledge  that  its  ears  shall  be  pierced  at 
the  time  of  the  Sun  Dance,  or  at  a  special  gathering. 

"There  was  a  Sun  Dance,  and  many  other  tribes  were  present 
witnessing  the  ceremony.  The  visitors  were  treated  well  in  the  way 
of  presents  and  horses. 

"The  man  who  said  that  his  child  was  to  be  'punished'  prepares 
his  pony.  In  the  first  place,  if  he  himself  is  not  a  warrior,  he  takes 
the  pony  to  a  good  warrior,  who  paints  the  pony  as  if  about  to  go  to 
war;  he  also  indicates  wounds  on  the  animal.  If  the  record  on  the 
pony  is  a  true  and  clean  one,  it  means  good  life  and  prosperity  to  the 
child.  Sometimes  the  painting  on  ponies  is  recognized  by  distinguished 
warriors.  The  pony  (about  to  be  given  away)  is  led  back  and  loaded 
with  all  kinds  of  goods,  and  the  child  is  dressed  in  its  very  best 
clothing. 

"The  women  (including  the  mother  of  the  child  and  other  moth- 
ers) supply  a  whole  bed,  consisting  of  mattress  (willows  fastened 
together),  two  lean-backs,  blankets,  beaded  bags,  painted  parfleches, 
pieces  of  bright  calico,  weapons,  leggings,  moccasins,  and  pillows,  and 
take  them  to  the  lodge,  where  the  bed  is  at  once  erected. 

"All  the  spectators  see  the  pony  and  the  goods.  The  father  goes 
to  one  of  the  criers  and  tells  him  to  call  for  Black-Coyote,  that  Two- 
Babies  wants  him  to  pierce  the  ears  of  his  child.  He  cries:  'Where 
are  you,  Black-Coyote?  Come  forward  quickly  and  pierce  this  child's 
ears!' 

"Black-Coyote  comes  with  his  wife,  daughter,  and  friends,  rubbing 
the  faces  of  the  people  (thereby  receiving  the  gracious  gift).  Before 
they  take  the  presents,  Black-Coyote,  if  a  good  warrior,  takes  the  awl, 
and  stepping  before  the  singers,  tells  his  war  story:  'It  was  about  this 
time  of  day  that  we  started  on  the  war-path.  Being  one  of  the  young 
men  in  the  party,  I  did  not  have  much  to  say  or  do,  except  the  necessary 
chores.  As  we  were  going  along  the  valley  we  came  upon  a  human  trail. 
Our  leader  ordered  us  to  stop,  and  at  once  detailed  the  spies  to  go  and 
follow  the  trail.  I  was  lucky  enough  to  be  one  of  the  party.  We 
started,  four  in  number,  and  soon  reached  fresh  tracks,  and  ahead  of 
us  there  was  smoke  extending  up  from  a  camp-fire.  After  locating 
the  enemy  we  all  started  back,  feeling  happy  at  the  prospect  of  a  fight. 
Just  at  a  short  distance  from  our  companions  there  was  a  hill.  We 
went  to  this  hill  and  made  our  ponies  go  in  a  zigzag  manner,  and  one 


i82       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

of  our  men  howled  like  a  coyote,  which  meant  that  we  had  spied  the 
enemy.  They  then  put  on  their  paint  and  war  costumes  and  joined  us. 
One  of  our  party  told  our  companions  the  location  of  the  enemy's 
camp.  Then  we  divided  equally  and  charged  for  the  enemy,  a  good 
run  of  seven  to  ten  miles.  My  pony  gave  out  just  before  we  reached 
the  enemy,  and  my  companions  warned  me  of  a  man  in  the  bush. 
"Well,  friends,  have  you  struck  him?"  said  I.  "No,  he  is  a  bad 
one,"  came  the  voices.  "Thanks!  Thanks!"  said  I.  Without  listen- 
ing to  my  companions,  I  rode  into  this  bush,  and  just  as  this  man  (a 
Pawnee)  was  in  the  act  of  pulling  his  trigger,  I  struck  him  [the  sing- 
ers here  beat  upon  the  ch-um  as  he  says  he  struck  the  enemy]  on  his 
head  with  the  butt  of  my  gun.  Toward  the  last  I  got  all  his  horses, 
goods,  and  food.     Brothers  and  sisters,  this  is  a  true  story. ' 

"Black-Coyote  then  advances  to  the  bed  where  the  child  is  lying, 
the  parents  holding  the  child  so  that  he  may  fight.  Black-Coyote  takes 
one  ear  at  a  time  and  pierces  it  with  an  awl  belonging  to  Two-Babies, 
and  inserts  a  brass  ring  or  stick. 

"After  the  piercing  is  done,  Black-Coyote's  wife  takes  the  pony 
with  the  bed  out  of  the  lodge.  Thus  the  child  is  saved  from  delicate 
health  or  from  the  enemy's  weapon.  (The  ear-piercing  is  also  a 
token  of  love  to  the  child  on  the  part  of  the  parents,  and  of  good  will 
on  the  part  of  the  child,  to  all  other  tribes  of  Indians.)" 

SACRIFICE   OF  HUMAN  FLESH. 

Having  even  a  more  remote  bearing  on  the  descriptive  account  of 
the  Sun  Dance  are  the  two  accounts  which  here  follow,  but  both  relate 
to  certain  phases  of  sacrifice,  which  idea  is  prominent  in  the  Sun 
Dance  and  for  this  reason  it  has  seemed  not  entirely  inappropriate  to 
append  them.  Both  accounts  are  given  as  obtained  from  the  inter- 
preter : 

When  any  member  in  the  family  is  taken  severely  ill  suddenly, 

one  of  his  relatives  makes  a  vow  in  the  presence  of  the  family.  He 
says  to  them:  "In  order  that  my  brother  may  get  well  soon  let  it  be 
known  to  all  spirits  that  early  in  the  morning  1  shall  cut  seven  pieces 
from  my  skin,  and  in  lieu  of  my  brother  I  will  bury  them." 

This  sick  brother,  in  the  mean  time,  is  being  attended  to  by  one 
or  more  medicine-men.  He  feels  that  his  own  brother  thinks  of  him, 
and  takes  courage.  Those  who  heard  the  vow  may  express  sympathy 
for  the  stricken  brother.  The  medicine-men  work  on  the  sick  man 
the  remainder  of  the  night. 

During  the  night  the  one  who  made  the  secret  vow,  goes  to  some 
one  and  tells  him  the  circumstances  of  the  trouble  and   kindly  asks 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  183 

him  his  services  in  the  morning.  The  "auxiliary"  prepares  himself 
for  the  task.  Just  before  the  sun  rises  the  one  who  made  the  vow,  or 
the  "pledger,"  goes  to  the  auxiliary,  and  he  knowing  the  object,  gets 
up  quickly  and  dresses  himself.  He  takes  up  his  pipe  and  tobacco 
pouch.  Both  walk  out  from  the  camp-circle,  or  beyond  the  village 
limits,  each  praying  that  their  sacrifice  may  be  heard  and  conveyed  to 
the  Sun. 

The  auxiliary  fills  the  pipe  with  tobacco  and  lays  it  in  front  of 
them.  While  the  pledger  has  an  awl  and  sharp  knife  in  readiness,  he 
prays  to  the  rising  sun,  saying:  "We  are  meek  and  lowly  in  this 
earth;  do  not  know  your  holy  wishes  this  day;  your  children  have 
taught  us  to  do  this;  we  hope  that  you  will  extend  your  sympathy  and 
protection.  We  know  not  how  to  pray  to  you  and  to  the  other  sacred 
beings,  so  please  be  merciful  to  us  individually,  and  above  all,  when 
you  (Sun)  have  risen  to  give  light  to  this  earth,  let  your  ray  of  light 
shine  upon  this  sick  brother!  Instead  of  leaving  him  in  intense  pain, 
please  come  to  him  with  all  your  mighty  power  and  remove  it.  We 
request  you  to  help  us  in  our  daily  lives  and  cause  your  light  to  reach 
us  that  we  may  see  the  'right  road,'  that  our  children  may  be  blessed 
and  grow  rapidly,  like  young  birds,  and  live  to  be  old  men  and  women. 
Send  us  plenty  of  rain  for  vegetation  and  please  watch  us  closely,  that 
we  may  not  slide !  We  are  under  obligations  to  call  for  your  assist- 
ance, my  Grandfather  (Sun),  on  behalf  of  the  sick  man.  Extend  your 
rays  to  him,  so  that  he  may  get  well!" 

The  auxiliary  then  takes  the  sharp  knife  and  awl  and  advances  to 
the  pledger.  Both  face  the  east,  to  meet  the  rising  sun.  Just  as  the 
first  rays  of  light  come  out  from  the  heat  of  the  sun,  the  auxiliary,  by 
thrusting  the  awl  with  his  left  hand,  slightly  raises  the  skin  from  the 
flesh,  and  with  his  right  hand  cuts  the  skin  with  a  knife.  He  hands 
each  piece  to  the  pledger,  who  holds  it  in  his  outstretched  palm.  The 
auxiliary  continues  until  he  has  cut  seven  pieces  of  skin,  all  being 
given  to  the  pledger. 

The  auxiliary  cleans  a  place  in  front  of  them  and  digs  a  small  hole 
or  "ditch."  The  pledger  then  says  in  behalf  of  the  sick  man:  "Now 
these  are  seven  pieces  of  my  skin,  which  I  do  hope  all  of  you  Super- 
natural-Beings and  Spirits  will  take,  to  the  end  that  my  dear  brother 
may  recover.  So  all  look  this  way!  Here  in  this  hole  I  bury  them." 
The  pledger  goes  through  the  motion  of  cleansing  his  hands  by  rub- 
bing them  together,  while  the  auxiliary  covers  the  skin.  The  burying 
is  done  before  the  edge  of  the  sun  is  seen  above  the  horizon.  The 
auxiliary  then  lights  his  pipe  and  points  the  stem  to  the  rising  sun  and 
smokes  it  with  reverence.     He  points  the  same  to  the  east,  then  over- 


184       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

head,  and  to  the  west,  passes  the  pipe  to  the  pledger,  and  after  both 
have  smoked  the  pipe,  it  is  cleaned. 

Thus  the  sick  man  is  saved  in  offering  this  sacrifice.  Both  men 
return  to  their  own  tipis.  The  auxiliary  is  compensated  for  his  ser- 
vices the  same  as  the  medicine  man. 

The  pieces  of  skin  are  sacrificed  to  the  temporal  spirits  in  the 
presence  of  the  Sun  that  they  may  save  the  man  from  death.  The 
man  buries  his  own  skin  in  preference  to  allowing  his  brother  to  go 
under  ground.  The  seven  pieces  of  skin  are  food  to  the  spirits; 
hence,  if  they  accept  them,  this  sick  man  recovers.  There  are  many 
different  figures  cut  on  the  skin  in  these  tortures,  such  as  a  cross  or  star, 
a  pipe,  and  various  straight  lines,  indicating  the  number  in  families. 

The  above  tortures  are  practiced  when  the  Indians  are  in  trouble. 

THE  SACRIFICE  OF  A  WOMAN'S  FINGER,   STORY  OF. 

The  tribe  had  been  on  a  buffalo  hunt;  therefore,  all  had  plenty  of 
meat.  The  women  felt  happy  when  they  had  heard  that  the  camp  was  ^ 
to  remain  for  several  days,  for  this  gave  them  aipple  time  to  dry  and 
tan  the  hides.  Different  organizations  of  men  were  having  their 
rehearsals  at  different  parts  of  the  camp-circle.  The  children  were' 
playing  within  the  circle  very  quietly.  The  warriors  (as  is  their  duty) 
had  their  best  horses  staked  out  near  by  the  tipi,  in  case  of  emer- 
gency; their  war  weapons  were  hung  on  the  lean-backs.  The  women, 
knowing  that  at  any  time  they  might  be  attacked  by  the  enemy,  had 
arranged  things  in  order,  but  kept  on  with  their  usual  work.  There 
were  no  sentinels  around  the  camp-circle;  but  all  young  men  were 
supposed  to  be  on  the  alert.  Generally,  they  are  out  late  at  night, 
dancing  with  their  companies.  Some  of  course  are  out  courting  the 
young  women.  In  many  instances,  the  tribe  is  saved  from  being 
massacred  because  the  young  men  are  continually  going  from  one 
tipi  to  another. 

One  night  a  man  named  Powder-Face  ordered  a  feast  prepared, 
and  directed  the  Crier  to  invite  the  Lime-Crazy  society  to  come  over 
to  his  tipi  for  a  smoke.  The  old  man  went  out,  walking  around 
within  the  camp-circle,  and  cried:  "Come  over  to  Powder-Face's  tipi 
now!  You  are  invited  to  smoke  and  eat  food.  All  the  members  of 
this  lodge  are  invited,  and  those  head  men  of'  this  lodge  who  desire 
to  be  present  will  please  come!"  The  tipi  was  large,  but  was  filled 
up  soon. 

Before  there  was  any  question  before  the  society,  there  were 
many  jokes  and  hints  directed  toward  the  head  men,  and  they,  too, 
would   make   jokes   at    their   brothers.     (When    the    head    men    are 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  185 

selected,  the  feeling  of  brotherly  love  is  established,  therefore  they 
address  each  other  as  brothers. ) 

After  the  company  had  eaten  the  food  and  enjoyed  themselves, 
Powder-Face  said  to  them:  "Now,  my  brothers,  we  have  had  a 
delightful  time.  I  am  sorry  that  some  of  the  principal  head  men  are 
not  here  with  us  to  discuss  an  important  matter,  but  I  hope  they  will 
come  soon.  We  know  that  our  parents  love  us  dearly,  that  many  of 
you  have  families,  that  some  of  you  own  many  horses,  and  further- 
more, you  do  not  like  to  leave  your  handsome  tipis  and  your  pretty 
wives.  But,  my  dear  brothers,  you  have  attained  to  the  right  age  to 
become  great  men,  and  we  have  a  splendid  chance  to  distinguish  our- 
selves in  order  that  our  names  may  be  known  and  remembered  here- 
after. It  is  true  that  your  own  parents  would  not  permit  some  of  you 
to  go,  but  let  me  say  to  you  again.  When  are  you  going  to  be  men 
among  your  people?  If  the  whole  tribe  has  nothing  but  'home-cow- 
ards,' who  is  to  face  the  enemy  and  protect  the  children?  I  want  all 
of  you,  brothers,  to  think  and  decide  what  is  best.  You  are  to  die 
some  day.  Would  you  rather  suffer  by  some  disease,  or  be  killed  for 
the  sake  of  your  lands  and  people?  I,  for  my  part,  wish  to  make  a 
name,  and  I  know  that  my  dear  Young-Chief  will  agree  with  my  propo- 
sition. He,  too,  wants  to  become  a  good  warrior.  See  his  wounds! 
Look  at  him,  my  brothers !  He  is  inspired  by  my  advice.  I  know  by 
his  actions  that  he  will  go  along!  Will  you  go, , Young-Chief?"  "Oh, 
yes,  I  will  start  with  you  any  time,"  said  he.  While  Powder-Face  was 
talking,  his  companion  would  fill  the  pipe  which  was  being  smoked. 

"Now,  listen,  brothers.  Who  will  venture  to  carry  a  pipe  for  a 
war-party,  to  start  to-morrow?"  said  the  head  man,  Powder-Face. 
There  was  no  answer  from  the  society,  so  he  put  the  same  question 
again.  "Well,  since  there  is  no  one  to  carry  a  pipe  for  a  war-party, 
and  because  I  am  getting  tired  of  staying  at  home,  I  will  take  it,  and 
I  hope  Powder- Face  will  come  along  with  some  of  you,  brothers,"  said 
Young-Chief.  "Good!  Good!  Young-Chief!  I  had  intended  to 
start  out  and  call  you  for  a  companion,  but  I  thought  I  would  call  our 
brothers,  to  get  a  war-party  to  start  out  from  the  camp-circle, ' '  said 
Powder-Face. 

Many  men  volunteered  to  go  along.  Thus,  a  war-party  was  made 
up.  The  head  men  who  were  present  spoke  some  encouraging  words 
to  the  men.  "Well,  since  the  occasion  has  been  a  pleasant  one,  and 
my  friend  Young-Chief  has  volunteered  to  carry  the  (war)  pipe,  and 
the  party  is  made  up,  I  want  all  of  you  who  are  going  along  to  get 
ready  to-night,  and  all  to  come  over  early  in  the  morning.  We  will 
all  start  together,  and  follow  my  friend  Young-Chief.     Do  you  think 


i86»      Field  Columbian  Museum — Anthropology,  Vol.  IV. 

I  had  better  hold  my  peace?"  said  Powder-Face.  "Oh,  no!  What- 
ever you  say  to  them,  I  agree  with  you,  and  I  do  hope  that  to-morrow 
will  come  soon,"  said  Young-Chief. 

"Well,  let  us  have  some  war  songs  ("Comanche  songs"),  devise 
some  means  to  meet  the  enemy,  and  tell  the  Crier  to  call  for  some 
women  to  help  us  in  singing,"  said  Young-Chief  to  Powder-Face.  The 
head  men  and  young  men  started  with  their  songs,  while  the  old  man 
cried,  stating  that  Young-Chief,  together  with  his  companion,  would 
start  to-morrow  on  the  war-path  against  the  Utes,  that  it  was  neces- 
sary to  have  women  to  come  over  and  help  in  the  singing. 

Small  drums  were  provided  and  men  and  women  were  enjoying 
themselves  that  night.  Many  old  men  sang  their  songs,  encouraging 
the  party.     It  was  very  late  in  the  night  when  the  people  ceased. 

Early  in  the  morning  the  young  men  of  the  Lime-Crazy  society 
went  over  to  Powder-Face's  tipi,  mounted  on  their  best  horses  in  full 
war  costume,  i.  e.,  having  their  war  weapons  with  them.  Some  rode 
good,  fat  ponies  and  led  their  best  running  horses.  The  people  were 
also  up  early,  and  were  standing  by  their  tipis,  some  of  them  on  hill-  ■* 
tops,  watching  the  war-party  collecting  at  Powder- Face's  tipi.  There 
was  singing  by  the  old  people  as  the  men  started  off.  Hairy-Face,, 
the  wife  of  Young-Chief,  and  Powder-Face  led  the  party  out  toward 
the  Ute  country. 

As  soon  as  the  party  started  off,  Hairy-Face,  the  wife  of  Young- 
Chief,  made  a  vow  that  she  would  have  her  left  finger  cut  off  in  order 
that  her  husband  might  be  victorious  and  return  home  safe. 

A  few  days  after  the  party  had  gone,  Hairy-Face  went  to  a 
middle-aged  woman,  who  was  well  known  for  her  ability  to  perform 
operations  of  this  kind  on  the  fingers,  and  told  her  that  she  had  vowed 
a  "secret"  and  wished  to  get  rid  of  it,  in  order  that  she  might  save 
her  husband.  The  woman  set  a  time  for  the  operation,  which  was  at 
noonday.  She  took  Hairy-Face  to  a  good  open  place,  where  buffalo 
grass  grew  thickly,  and  both  sat  down  facing  south,  toward  the  sun. 
Then  the  woman  who  was  to  perform  the  operation  prayed:  "Please 
listen  to  me,  Grandfather  (Sun)!  This  woman  comes  before  you  to 
offer  her  last  finger  as  a  sacrifice  to  the  Supernatural-Beings  and  other 
gods,  that  her  husband,  who  has  just  started  out  in  search  of  the 
enemy,  may  come  home  safe,  and  that  the  party  that  he  takes  out  may 
return  to  us,  all  happy,  and  that  her  desire  for  them  to  win  a  big  vic- 
tory may  be  fulfilled.  So  please,  Grandfather,  help  me  to  do  my  work 
successfully  that  this  sacrifice  be  a  pleasing  sight  to  you  and  food  to 
the  earthly  spirits!  Be  merciful  to  us  and  protect  us  women  from 
dangers  in  the  world ! 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  187 

"Now  since  this  is  the  way  that  our  grandmothers  used  to  do  in 
respect  and  reverence  to  your  daily  light,  I  will  now  take  this  knife, 
root,  and  tobacco,  and  perform  this  operation.  Let  it  not  be  painful, 
and  let  the  finger  heal  quickly!" 

The  woman  then  bit  off  a  piece  of  root,  chewed  it,  and  spat  upon 
the  finger.  She  then  marked  a  ring  around  the  finger  with  the  pipe- 
stem.  She  called  a  woman  to  assist  her  to  hold  the  arm  steady,  while 
she  took  the  small  finger  of  the  left  hand,  and  with  her  right  hand 
cut  it  off.  After  the  finger  had  bled  a  while,  she  placed  a  piece  of 
tobacco  against  the  end  to  stop  the  bleeding  and  pain.  A  fat  piece 
of  tallow  was  then  placed  over  the  tobacco  and  finger,  and  tightly 
wrapped,  the  bandage  remaining  until  the  finger  healed.  Then  the 
woman  lifted  the  piece  of  the  finger  which  she  had  cut  off  upwards  to 
the  Sun;  then  buried  it  in  the  ground  for  the  pledger  (Hairy-Face). 

Both  returned  to  the  tipi,  feeling  much  relieved  after  the  painful 
occasion;  but  said  it  was  for  the  good  of  the  war  party.  Thus  the 
man  was  saved. 

After  a  long  time  the  war-party  returned,  parading  through  the 
camp-circle,  inside  and  outside,  in  full  war  costume.  Young-Chief  and 
Powder-Face  led  the  parade,  showing  that  they  had  each  struck  one 
or  two  men  in  the  fight.  The  rest  of  the  men  returned  unhurt,  but 
their  horses  were  shot  down.  Some  of  them  came  home  as  famous 
warriors,  bringing  horses  and  goods  for  their  folks.  Quite  a  number 
took  scalps  from  the  Utes. 

After  their  return  there  were  scalp  dances  all  night  for  some  days. 
Those  who  didn't  go  along  were  rebuked  by  the  people. 

Some  years  afterwards,  Powder-Face  and  Young-Chief  were 
wounded  so  that  the  people  often  coaxed  them  to  stay  at  home  when 
a  war-party  was  going  out,  but  they  both  always  went  along.  Young- 
Chief  was  shot  and  killed  by  hay-makers  near  Fort  Riley,  Kansas, 
while  Powder-Face  was  frozen  to  death  in  Oklahoma  seventeen  years 
ago.  Both  were  leading  chiefs  at  one  time,  and  their  names  are  still, 
spoken  of  to  this  day. 


XIV.— CHILDREN'S  Games  During  the  Sun  Dance 

Ceremony. 

In  connection  with  the  more  serious  rites  of  the  great  Sun  Dance 
ceremony  occur  many  interesting  minor  events  among  the  people  at 
large  in  the  camp-circle,  who  are  not  personally  connected  with  the 
ceremony.     The  presence  of  the  entire  tribe  in  one  camp  naturally 


i88       Field  Columbian  Museum — Anthropology,  Vol.  IV, 

furnishes  favorable  opportunity  for  certain  games  and  amusements, 
which  opportunity  is  heightened  by  the  prevalence  of  much  religious 
fervor  on  the  part  of  many,  and  of  a  feeling  of  good-natured  fellow- 
ship on  the  part  of  all.  While  these  games  and  amusements  have  no 
direct,  or  at  best  only  an  indirect,  connection  with  the  ceremony 
proper,  yet  the  following  accounts  of  some  of  the  sports  of  children 
are  deemed  worthy  of  reproduction  in  this  place.  All  the  accounts 
are  recorded  as  related  by  the  Indians  themselves. 

When  there  is  a  full  moon  the  children  within  the  camp-circle 
gather  together  for  various  amusements.  They  are  permitted  to 
indulge  in  such  amusements  when  they  have  reached  the  age  of  seven 
years,  and  then  on  until  they  are  fourteen.  Generally  the  older  ones 
watch  over  and  direct  the  games;  for  they  are  supposed  to  know 
exactly  what  is  to  be  done.  There  may  be  an  indefinite  number  of 
players.  If  some  of  them  are  unruly,  the  crowd  disperses;  or  if  the 
crowd  gets  too  noisy  near  the  old  folks'  tipi,  or  any  of  the  Water- 
Pouring  people,  they  are  ordered  off. 

GAME  OF   BUFFALO  MEAT. 

The  children  (boys  and  girls)  sit  in  a  row,  the  feet  placed  forward, 
looking  towards  the  boys  and  girls  (any  number)  selected  to  carry 
them  to  another  place.  The  children  who  sit  in  a  row  sing  thus: 
"Come  over  this  way!  Come  over  this  way!"  They  at  the  same 
time  move  their  feet  in  order  to  be  touched  by  the  "Carriers." 

The  Carriers  then  start  off  in  search  of  those  who  were  singing 
for  "help."  They  of  course  pretend  to  be  blind,  and  therefore, 
naturally  will  instantly  walk  toward  the  singers.  The  singing  is 
kept  up  in  a  high  pitch,  the  Carriers  going  to  touch  them  with 
their  feet.  As  each  singer  is  touched,  he  ceases  singing,  and  prepares 
to  be  carried  off.  The  Carriers  then  pick  him  up  with  head  upwards 
or  downwards  and  take  him  to  a  place  of  safety. 

When  the  Carrier  reaches  the  place  of  safety,  he  unloads  his 
burden.  The  above  course  is  followed  until  all  the  children  are 
carried  off  except  one  who  is  called  the  "victim."  This  last  one 
keeps  singing,  "Come  over  this  way!"  As  the  children  are  unloaded 
they  are  deposited  in  a  row,  where  they  sit  in  silence. 

The  minute  there  is  but  one  left  at  the  starting-place  the  song 
ceases.  Any  of  the  Carriers  then  go  for  the  victim  ("the  gift  from 
the  spirit")  and  bring  it  (boy  or  girl)  to  the  row  of  children.  This 
child,  "victim,"  is  supposed  to  be  dead  buffalo,  and  is  laid  in  the 
center  of  the  row,  on  the  children's  legs.  It  is  then  beaten  by  the 
children  with  their  hands,  while  they  say  in  their  song  (to  them- 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  189 

selves):  "Here  is  my  marrow  in  the  bone!  Oh!  Here  is  my  marrow 
in  the  bone!"  The  song  is  exciting  toward  the  last  part,  to  attract 
the  giver  of  the  food,  i.  e.,  the  spirit. 

After  the  children  have  selected  their  parts  on  the  person  (buffalo), 
they  regard  it  the  same  as  a  blessing  for  future  prospects  in  the  family 
they  belong  to.  They  then  get  up  and  chase  each  other  around.  Then 
some  will  play  at  leap-frog,  while  the  rest  sit  down  on  the  ground 
and  chat,  making  love,  or  telling  stories.  The  last  person  is  the  buf- 
alo,  which  is  brought  to  the  people  for  food. 


During  the  Sun  Dance  ceremony,  or  at  the  beginning  of  the  dance, 
the  rawhide  corresponds  to  the  victim,  and  is  thought  of  as  the  bless- 
ing given  by  the  Father,  and  thus  is  received  by  the  people. 

Just  as  the  children  beat  the  last  one  for  choice  of  marrow  in  the 
bone,  so  with  the  singers  upon  the  rawhide.  The  singing  and  the 
beating  upon  the  drum  dramatized  the  food  or  buffaloes,  just  as  the 
thunder  does.  When  there  is  a  voice  from  the  thunder,  the  people 
stir  about,  and  naturally  seek  for  shelter.  The  cry  of  the  singers 
upon  the  arrival  of  the  rawhide  answers  to  the  voice  from  the  thunder; 
so  in  this  respect,  it  is  for  the  tribal  blessing  as  received. 

•The  singing  and  dancing  then  go  on,  thus  showing  the  gratitude 
of  the  people.  It  is  also  a  prayer  to  the  Father  for  future  care  and 
protection.  Some  pray  that  their  sins  be  cleansed,  while  others  wish 
for  longevity  and  prosperity.  In  all,  it  is  a  general  good  time — 
grievances  are  forgotten,  pains  are  relieved,  sorrows  in  bereaved 
families  are  wiped  away,  and  there  is  a  wish  that  good-will  be  estab- 
lished with  the  white  people. 

GAME    OF  CHOOSING  GRANDFATHERS. 

After  going  through  the  first  play,  as  just  explained,  they  lie 
down  on  their  backs,  facing  or  looking  at  the  stars  in  the  heavens. 
Two  or  four  of  the  children  (the  oldest  ones)  pass  in  single  file  behind 
the  heads  of  the  other  children,  and  each  asks  the  boy  or  girl  who  his 
relatives  are;  i.  e.,  these  boys  or  girls  question  each  other  in  the  line, 
at  the  same  time  touching  the  center  of  the  forehead  of  the  one 
addressed.  Thus,  one  asks,  "Who  is  your  father?"  The  answer  is, 
e.  g.,  "Big-Mouth."  The  next  one  asks,  "Who  is  your  mother?"  and 
receives  the  answer,  "Bitchea, "  and  they  continue,  "Who  is  your 
grandfather?"  "Two-Babies."  "Who  is  your  grandmother?" 
"Shave-Head."  "Who  is  your  uncle?"  "Spotted-Corn."  "Who  is 
your  brother?"  "Lone-Man."  "Who  is  your  sister?"  "Star- 
Woman."     "Who   is  your   nephew?"     "One-Dog."     "Who  is  your 


190       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

niece?"  "Turtle-Woman."  "Who  is  your  cousin?"  "Running- 
Much."     "Who  is  your  friend?"     "Killing-with-the-Stick,"  etc. 

The  above  questions  are  used  during  the  play.  Then,  after  they 
have  completed  the  first  act,  they  go  back  and  begin  questioning  the 
children's  choice  of  trees:  "What  kind  of  tree  do  you  belong  to?" 
"Cedar."  "What  kind  of  tree  do  you  belong  to?"  "Willow." 
"What  kind  of  tree  do  you  belong  to?"  "Cottonwood."  "What 
kind  of  tree  do  you  belong  to?"  "Redwood."  "What  kind  of  tree 
do  you  belong  to?"  "Oak."  "What  kind  of  tree  do  you  belong  to?" 
"Hickory."  "What  kind  of  tree  do  you  belong  to?"  "Black- 
jack," etc. 

After  this  is  done  they  go  along  the  line  again,  and  begin  lifting 
the  children,  one  by  one,  until  all  have  risen  from  the  ground.  The 
boys  and  girls,  lying  on  the  ground,  stretch  their  bodies  perfectly 
straight  when  the  others  lift  or  raise  them  from  the  ground.  If  they 
hold  their  bodies  rigid,  their  future  prospects  are  considered  good,  but 
if  not  they  are  considered  worthless.  The  latter  has  reference  to 
those  who  do  not  take  part  in  the  ceremonies.  Each  child  does  his 
best  to  play  well ;  for  the  mysterious  powers  are  supposed  to  watoh 
them. 

After  this  play  is  acted,  then  comes  the  game  of  Grandmother 
against  Wolf.  One  of  the  largest  girls  is  selected  to  be  the  grand- 
mother, and  a  large  boy  is  selected  for  the  wolf.  All  the  boys  and 
girls  are  in  a  long  line,  all  clinging  to  the  grandmother  by  holding 
each  other  tightly.  The  boy  (wolf)  catches  the  grandmother  and 
wrestles  with  her,  and  at  the  same  time  tries  to  catch  one  of  the  chil- 
dren for  food,  but  the  grandmother  protects  each  one  of  them  by 
fighting  the  wolf.  If  the  grandmother  throws  the  wolf  down  it  is  a 
victory  over  all  enemies,  but  if  not,  somebody  in  the  war-party  gets 
killed. 

The  children  may  now  continue  in  other  kinds  of  games. 


When  the  Indians  have  formed  a  camp-circle,  the  children  are 
likely  to  get  lost  by  playing  away  from  home.  Usually,  the  different 
bands  camp  together  to  avoid  confusion.  If  the  Indians  have  not 
gathered  for  some  time,  and  the  children  grow  up  men  and  women, 
the  other  people  do  not  know  them.  So  this  play  of  asking  who  is 
your  father,  etc.,  is  of  value.  Any  child  could  answer  similar  ques- 
tions on  other  occasions.  Also  the  selections  of  the  grandfathers  by 
the  Sun  Dancers,  etc.,  are  initiated. 

In  regard  to  the  kind  of  trees,  it  will  be  noticed  that  cedar,  red- 
wood, and  Cottonwood  are  mentioned.     These  trees  are  used  in  the 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  191 

altar  where  the   Pledger  stands  during  the  ceremony.     The   rest  of 
the  trees  mentioned  are  used  for  firewood  or  other  useful  purposes. 

GAMES  WHILE  BATHING. 

When  the  boys  are  playing  on  a  sand-bar,  they  make  a  small 
mound,  and  then  with  their  elbows  they  make  a  hollow  place  on  top 
of  it.  Then  they  kneel  down  over  this  small  mound  and  urinate  into 
the  hollow  place.  After  the  water  has  soaked  in  the  "sand-bowl" 
they  take  it  with  the  right  hand  and  throw  it  up  in  the  air  toward  the 
sun,  saying,  "Sun,  you  may  have  this  for  your  drum."  It  drops  and 
breaks  into  pieces.  When  the  boys  throw  the  sand-bowls  up  in  the 
air  they  try  to  get  away,  because  when  the  sand-bowls  light  on  the 
ground,  they  break  and  scatter  in  various    directions. 

This  is  done  by  the  young  men  to  prevent  disease.  The  young 
boys  play  according  to  this  method,  when  they  get  older  they  cease 
doing  it. 

When  the  children  are  swimming  they  sometimes  plaster  the  right 
toe  with  some  clay  and  then  carry  it  across,  swimming  on  the  back 
and  holding  the  foot  up  out  of  the  water.  If  the  water  is  deep,  they 
have  to  keep  the  foot  with  the  clay  out  of  the  water  in  order  to  "save 
their  grandchildren."  The  foot  represents  an  old  man  or  an  old 
woman,  while  the  clay  represents  a  child.  If  the  clay  is  washed  away 
from  the  foot,  the  "child  is  drowned."  In  other  words,  the  future 
prospects  of  the  child  are  indefinite. 

After  they  get  through  with  the  play,  they  go  on  the  bank  and 
select  a  small  white  cloud  in  the  sky.  They  swing  both  hands  to  and 
fro,  occasionally  looking  at  the  cloud,  saying,  loudly,  "An  elk  with  a 
pointed  vulva,"  until  the  cloud  vanishes.  The  sentence  is  repeated 
by  the  child  or  children  until  the  cloud  vanishes  out  of  sight;  by  this 
time  the  body  of  the  bather  has  become  perfectly  dry. 

XV.— Sun  Dance  Myths. 

ORIGIN  MYTH. 

At  one  time  there  was  a  deluge  on  the  face  of  the  earth.  A  man 
with  something  in  his  arms  was  seen  for  four  days  and  nights  walking 
around  on  the  water. 

One  time,  as  he  was  wandering  and  thinking  of  this  solitary  habi- 
tation and  also  planning  secretly  how  he  could  preserve  his  pipe, 
which  was  somewhat  flat,  he  said,  weeping,  "Here  I  am  alone  with  my 


192       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

pipe.  What  shall  I  do  to  save  it?  For  I  do  love  it;  besides,  it  is  my 
sole  companion."  At  times  this  man  would  fast  in  order  to  know 
what  was  best  to  be  done,  or  to  get  an  idea  of  something.  During 
fasting  he  gradually  got  acquainted  with  small  objects.  For  six  days 
he  walked  around  on  the  surface,  carrying  the  Flat-Pipe  on  his  left 
arm,  weeping  at  the  top  of  his  voice. 

On  the  evening  of  the  sixth  day,  after  he  had  fasted,  he  said, 
looking  around  as  far  as.  his  eyes  could  reach:  "This  Flat-Pipe  is  just 
and  upright  and  a  good  counselor,  I  do  wish  that  there  would  be  a 
land  where  I  could  keep  it  holy  and  reverently.  Yes,  to  have  a  true 
and  peaceable  companion  excels,  therefore  a  good  piece  of  land  is 
necessary.  Since  I  have  been  fasting  with  this  Flat-Pipe,  I  have 
come  to  the  definite  conclusion  that  for  its  safety  to  the  end,  instead 
of  being  alone,  there  should  be  an  earth  with  inhabitants,  creatures  of 
every  description.  I  hope  this  desire  may  become  a  reality."  That 
night  he  again  walked  around  on  the  water  in  deep  thought  and  at 
times  wept  for  good  results.  '  The  water  was  calm  and  there  was  a 
gentle  breeze  from  all  directions. 

On  the  morning  of  the  seventh  day  he  came  to  a  resting-place  on 
the  water.  "Well!  There  should  be  an  earth  for  this  Fiat-Pipe  t^o 
live  on.  He  is  my  sole  companion,  who  has  been  just  and  upright 
with  me;  therefore,  I  shall  see  if  it  can  be  done,"  said  he,  bracing  up, 
and  with  much  spirit  and  command. 

So  he  stood  off  to  a  place  in  the  northwest,  carrying  his  Flat-Pipe, 
and  coughing  a  little  to  clear  his  throat,  with  a  loud  voice  (as  Hdcheni 
does  when  announcing  the  lodge):  "Hea  — !  People!  Hea  — ! 
People!  Hea  — !  People!  Come,  all  of  you!  Come  and  make 
an  attempt  to  search  for  earth!"  He  then  walked  off  to  another  place, 
lifted  up  his  head  a  little,  looking  very  far,  took  a  deep  breath  of  air 
and  cried  with  a  loud  voice.  "Hea — !  Hea — !  Hea — !  Come  all  of 
youl  Come  over  and  make  an  attempt  to  search  for  earth!"  This 
was  the  announcement  to  the  northeast  to  beings  (birds  and  animals). 
Again  he  walked  to  the  southeast,  coughing  a  little  to  clear  his  throat, 
stopped,  standing  firmly,  and  lifted  up  his  head  and  looked  a  great 
distance,  took  a  deep  breath  and  cried  with  a  loud  voice,  "Hea — ! 
Hea — !  Hea — !  Come,  all  of  you!  Come  over  and  make  an  attempt 
to  search  for  earth!" 

After  each  announcement  at  the  places  specified,  there  were 
returns  of  "thanks"  from  the  distant  waters.  "May  they  come  with 
great  blessing  and  peace  and  good-will!"  said  he,  as  he  walked  off  to 
the  southwest.  He  stopped,  took  a  solid  stand  (like  a  foundation), 
coughed  a  little  to  clear  his  throat,  lifted  his  head,  drawing  in  a  deep 


Mav,  1903.         The  Arapaho  Sun  Dance — Dorsey.  193 

breath,  and  cried  with  a  loud  voice,  "Hea — !  Hea — !  Hea — !  Come, 
all  of  you!  Come  over  and  make  an  attempt  to  search  for  earth!" 
and  he  returned  to  his  original  place. 

Then  the  man  said,  "Let  there  be,  at  short  distance  from  me, 
seven  cottonwood  trees  of  medium  height  and  size!"  at  the  same  time 
taking  a  deep  breath,  and  looking  off  over  the  water.  After  he  had 
thus  commanded,  there  were  seven  cottonwood  trees  standing  upright, 
being  healthy  in  appearance. 

He  then  returned  to  his  original  place,  when  there  came  forth 
birds  of  every  kind  with  songs  of  praises,  and  reptiles  of  every  kind, 
at  the  same  time  enjoying  themselves  in  being  assembled.  They 
lighted  on  the  tops  of  the  trees,  chirping  and  fluttering  in  the 
branches.  The  reptiles,  of  course,  swam  to  the  gathering,  and  they, 
too,  uttered  their  voices  of  gratitude. 

"Now  listen  to  me  attentively  and  think  of  it  seriously,"  said  he, 
moving  a  little  and  with  a  great  deal  of  dignity.  "Since  you  have 
come  from  different  quarters  of  the  horizon,  it  is  probable  that  some 
of  you  might  know  where  the  land  is  located.  I  am  unable  to  locate  it, 
nor  have  1  any  idea  of  the  land.  So  please,  I  do  wish  all  of  you  would 
inform  me  of  any  piece  of  land  that  you  may  know  of,  so  I  can  be 
satisfied,"  said  he,  looking  up  toward  the  trees  and  around  him. 

"Say,  I  think  I  know  exactly  where  it  is,  for  I  have  heard  abgut 
it,"  said  the  turtle.  "Keep  quiet,"  said  he,  slightly  touching  him  at 
the  knee. 

The  birds  were  chirping  on  the  branches  relative  to  the  question 
and  the  reptiles  were  in  solemn  thought  and  occasionally  made  sharp 
noises  among  them. 

Finally,  there  came  an  answer  from  the  turtle,  that  he  had  heard 
of  it  beneath  the  deep  waters.  The  others  of  greater  faculty  did  not 
have  any  idea  of  the  land  being  under  the  waters,  so  they  were  greatly 
astonished  at  the  turtle's  answer.  All  expressed  their  full  gratitude 
to  the  turtle. 

"Now  listen  to  me!  Who  can  dive  in  the  water  and  search  for 
the  bottom  of  it?  I  am  sure  that  some  of  you  are  able  to  accomplish 
the  task,  for  you  have  the  strength,"  said  he,  looking  around  the 
interesting  crowd.  "Say!  I  will  dive  first  and  try  to  find  the  bot- 
tom," said  a  little  fowl  (a  bird  with  long,  slender  bill,  rather  short 
body,  long,  thin  legs,  with  feathers  white  from  neck  to  stomach. ) 
"Oh,  pshaw!  I  can  beat  him  in  diving,"  said  another  water-fowl. 
"Say,  partner,  be  quiet,  let  him  do  it  himself;  they  selected  him  to 
do  the  task,"  said  another  water-fowl,  wiggling  briskly.  So  the 
first  little   water-fowl  advanced  for  orders.     The  owner  of  the  Flat- 


194       Field  Columbian  Museum — Anthropology,  Vol,  IV. 

Pipe  then  said  with  a  loud  voice,  "You  may  all  know  that  Turnstone 
will  now  dive  in  search  of  the  bottom  of  the  ocean,  for  our  benefit," 
The  people  (animals  and  others),  were  standing  with  anxiety  to  see 
the  results.  So  the  bird  straightened  its  head,  fluttered  its  wings  and 
dived,  leaving  circular  ripples  on  the  surface.  All  the  rest  were  of 
course  delighted  to  see  the  first  attempt,  and  really  put  confidence 
in  the  bird  for  good  results.  Just  after  the  sun  had  risen,  this 
little  water-fowl  was  seen  floating  on  the  surface  near  the  gathering. 
"Well!  Well!  Here  comes  the  errand  boy,  and  now  we  shall  hear 
rhe  report,"  said  the  man,  moving  his  head  a  little.  "I  cannot  find 
a  trace  of  it.  It  is  quite  deep,  therefore  I  could  not  go  farther," 
said  the  bird,  breathing  just  a  little,  as  its  stomach  was  well  loaded. 
"You  may  all  know  that  he  has  returned  and  reported  that  the  water 
is  very  deep,  and  he  saw  no  trace  of  the  land,"  said  the  man.  It 
being  a  very  important  undertaking,  there  was  quite  a  dispute  among 
the  people  for  another  errand  or  messenger  (this  means  that  a  man  is 
appointed  for  an  important  duty).  Finally  there  came  forth  two  water- 
fowls, with  the  same  features  and  size,  and  took  a  proud  stand  before 
the  owner  of  the  pipe.  "That  is  the  way  to  feel,  and  in  the  long  run 
you  will  accomplish  a  great  task,"  said  the  man  to  the  young  men 
(water-fowls).  "Now  it  is  my  duty  to  give  notice.  You  people  may 
know  that  these  two  young  men  will  now  dive  in  search  of  the  bottom. 
Let  us  all  be  united  in  our  prayers  for  their  success,"  said  he,  in  manly 
voice  and  with  great  gesture.  So  they  took  deep  breaths  and  dived, 
leaving  ripples  on  the  surface.  For  two  days  these  two  young  men 
were  absent.  Just  after  the  sun  had  risen  the  young  men  came  up, 
floating  on  the  surface.  "Well,  here  come  those  young  braves,  and 
now  we -shall  know  this  day  the  results,"  said  the  man.  "We  cannot 
see  any  signs  of  land.  The  water  is  very  deep,"  said  the  fowls. 
These  fowls  were  both  exhausted,  and  their  stomachs  were  quite  full 
of  water. 

"You  all  may  hear  that  these  two  young  men  have  returned  and 
reported  that  there  are  no  signs  of  land  and  the  water  is  still  very 
deep,"  said  he,  coughing  a  little  to  attract  attention,  and  at  the  same 
time  looking  around  the  people.  Many  others  ventured  to  undertake 
the  perilous  task,  but  careful  selections  were  made.  After  due  con- 
sideration among  the  people,  three  water-fowls,  among  which  was  the 
kingfisher,  were  appointed,  who  came  forth  and  stood  proudly  before 
the  man.  "Yes,  boys,  if  you  continue  with  your  energy,  great  joy 
may  follow.  I  am  feeling  very  proud  of  your  ambition,"  said  the 
man,  smacking  his  lips  together.  "You  may  all  know  that  three 
young  men  will  now  dive  in  search  of  land,"  said  he,  with  much  spirit 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  195 

and  clear  voice.  The  people  were  in  their  respective  places  convers- 
ing, and  were  in  deep  thought  with  the  young  men.  The  birds  of 
every  species  had  then  begun  building  their  nests  in  the  cottonwood 
trees,  and  others  made  homes  in  such  a  way  around  the  man.  These 
three  water-fowls  then  dived,  leaving  ripples  on  the  surface  and  were 
absent  for  three  days.  Just  after  the  sun  had  risen  there  came  out  to 
the  surface  from  below  these  water-fowls.  Each  made  an  effort  to 
become  conscious  by  breathing  all  the  air  that  surrounded  them. 
"Well!  Well!  Here  they  come,  finally,  and  now  we  shall  hear  the 
report,  so  please  tell  me  what  encouraging  news  you  have,"  said  the 
man.  "We  cannot  find  any  signs  of  land,  for  we  have  gone  to  a  con- 
siderable depth,  and  still  the  water  gets  deeper,"  said  they,  in  weak 
voices. 

"You  may  all  know  that  these  young  men  have  arrived  and 
reported  that  they  have  seen  no  sign  of  land,  and  the  water  gets 
deeper,"  said  the  man,  turning  his  face  to  the  interested  crowd.  All 
the  people  dropped  their  heads  in  deep  thought,  and  conversed  freely 
relative  to  the  great  task.  After  considerable  argument  among 
them,  there  came  forth  the  otter,  beaver,  packed  bird,  and  garter- 
snake,  who  stood  before  the  man.  These  people  had  been  appointed 
and  ordered  to  come  forward.  "Good!  Good!  It  is  the  desire  that 
great  deeds  may  be  done  by  some  young  people.  There  is  no  reason 
why  you  cannot  do  much  good  to  your  people,"  said  he,  as  he  care- 
fully moved  his  Flat-Pipe  and  looked  all  around  with  sympathetic 
appearance.  "You  may  all  know  that  our  young  men  will  now  dive 
in  search  for  land  for  our  benefit,"  said  he,  swallowing  his  saliva, 
which  gave  a  sound  as  though  a  stone  were  dropped  in  the  water.  So 
these  young  men  lifted  their  heads,  raised  their  hands,  uttered  a  word 
of  prayer,  then  dived  and  were  absent  for  four  days.  After  the  sun 
had  risen  these  young  men  returned,  each  floating  on  the  surface  close 
to  the  gathering.  "Well,  here  they  come  back,  bearing  good  expres- 
sions. Now  we  get  the  best  results  to-day,  for  these  men  have  excel- 
lent characters,"  said  he,  with  signs  of  faith.  All  the  people  responded 
to  the  gathering  to  hear  the  news  and  there  was  tranquillity  in  the 
crowd.  "We  cannot  find  any  signs  of  land,  although  we  went  to  a 
considerable  depth,"  said  they.  "Yes,  I  think  positively  that  there 
is  no  bottom,  for  I  cannot  feel  the  impulse  for  success,"  said  the 
beaver,  with  signs  of  despair.  At  the  above  remark  there  was  a  great 
stir  among  the  people,  and  the  birds  and  water  animals  chatted  with 
much  emotion. 

The  people  then  selected  men  of  greater  strength  for  the  next  trial. 
Finally  there  came  forth  five  young  men  well  built,  and  stood  before 


196       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

the  man.  In  this  party  there  was  a  black  snake,  two  kinds  of  clucks, 
a  goose,  and  a  crane.  "Yes,  I  have  thought  many  times  that  an 
ambitious  heart  does  more  good  than  a  poor  one.  You  men  are  physi- 
cally strong,  and  I  hope  that  in  spite  of  the  perilous  duty  before  ^ou, 
you  may  succeed,"  said  he,  winking  his  eyes  and  glancing  at  the 
crowd.  "You  may  all  know  that  these  young  men  will  now  dive  for 
our  benefit,"  said  the  man.  So  they  all  looked  around,  threw  out  their 
deep  chests,  wiggled,  closed  their  eyes,  and  dived  in  search  of  land. 
The  people,  after  seeing  the  water  ripples  left  by  them,  wondered 
whether  or  not  they  would  be  successful  this  time.  For  five  days 
these  short,  but  healthy-looking  young  men  were  absent  from  their 
companions.  After  the  sun  had  risen  these  five  young  men  had 
returned.  Each  one  was  floating  on  the  surface,  breathing  rather 
hard  from  exhaustion.  "Well!  Well!  Here  they  come,  and  we  are 
sure  to  have  a  good  report  this  time,"  said  he,  looking  at  his  Flat- 
Pipe.  "We  cannot  find  any  signs  of  land,  although  we  went  together 
and  were  gone  very  deep,  still  the  water  looked  green,"  said  they, 
looking  very  tired.  Straightening  himself,  the  man  said,  encourag- 
ingly to  the  people,  "You  may  all  know  that  these  young  men  have 
returned  and  reported  that  they  saw  no  speck  of  land,  but  that  there 
is  a  continuous  green  appearance  to  the  water."  Again  there  was 
quite  a  stir  among  the  people,  and  all  conversed  upon  the  subject.  So 
finally,  after  they  had  a.  talk  and  decided,  there  came  word  from  them 
that  an  appointment  was  uncertain  this  time,  for  all  those  who  had 
strength  and  flight  had  failed. 

"Say,  can  I  make  an  attempt  alone?"  said  the  turtle,  secretly  to 
the  man.  "Hush!  I  want  all  of  them  to  search  for  it,"  said  he,  in 
low  voice.  While  the  turtle  had  gone  back  to  its  place,  which  was 
close  to  the  man,  he  advanced  a  little  and  said  to  the  people,  who 
were  still  talking  and  singing  for  better  results,  "Well!  Since  you  all 
have  failed  to  make  good  selections  to-day,  I  think  that  on  behalf  of 
my  Pipe  and  for  ourselves,  it  is  a  wise  proposition  for  all  to  seek  for 
the  land.  So  I  want  all  of  you  to  come  forward  and  make  a  dive 
around  me  and  bring  a  good  report, ' '  said  the  man,  in  a  clear  and  manly 
voice.  So  all  the  birds,  reptiles,  and  others  came  close,  with  much 
delight,  each  expressing  a  desire  to  accomplish  the  task.  "For  the 
good  welfare  and  prosperity  of  my  Pipe,  I  pray  you  all  to  seek  dili- 
gently for  the  land  and  I  will  await  for  the  results,"  said  he,  looking 
at  the  turtle,  which  meant  that  the  turtle  was  to  remain  with  him.  So 
every  one  then  took  deep  breaths  and  glanced  at  each  other.  All  at 
once  they  dived  for  the  bottom  of  the  water.  After  they  had  dived 
simultaneously,  there  were  pretty  ripples  left  on  the  surface;   each 


May,  19C3.         The  Arapaho  Sun  Dance — Dorsey.  197 

made  a  circular  one.  The  man  with  the  Pipe  and  the  turtle  were  the 
only  ones  left  to  witness  the  return.  For  six  days  there  was  a  deep 
calm  over  the  water.  During  the  absence  of  these  animals,  the  man 
with  the  Pipe  bowed  his  head  and  listened  attentively,  and  winked  his 
eyes  softly,  and  at  times  coughed  a  little  to  attract  the  attention  of  the 
turtle.  Some  of  them  returned  to  the  surface  in  one  day,  some  in  two 
days,  some  in  three  days,  some  in  four  days,  some  in  five  days,  and  a 
very  few  on  the  morning  of  the  sixth  day.  The  sun  had  risen  and  it 
was  nearly  noon  when  all  had  returned,  when  the  man  said  to  them, 
"You  have  been  gone  in  search  of  land  for  days  and  nights  and 
returned  by  parties,  and  since  this  is  an  important  affair  I  would  like 
to  know  if  there  is  any  prospect  to-day,"  said  he,  as  he  straightened 
his  position  with  the  Pipe.  There  was  no  answer  from  any  particular 
one,  but  all  answered  that  there  was  no  sign  of  land  underneath.  "I 
do  not  think  that  thece  is  any  land  underneath."  "Yet,  if  there  was 
a  land  under  the  water  one  of  us  would  surely  have  found  it,  but  there 
is  none."  "Yet  we  may  have  gone  by  a  wrong  course."  "Maybe, 
we  all  came  back  a  little  distance  from  it."  These  were  sentences 
spoken  by  some  of  the  thoughtful  ones. 

"Now,  people,  since  you  have  failed  to  find  the  land  underneath 
this  water,  and  in  view  of  the  fact  that  I  have  such  a  good  companion 
and  desire  to  place  it  on  solid  earth,  I  wish  to  inform  you  that  I  will 
seek  for  it,  that  Turtle  will  accompany  me.  I  do  hope  all  of  you  will 
remain  on  this  spot  and  await  for  our  return.  In  the  mean  time  you 
can  enjoy  yourselves,  and  be  on  the  lookout  all  the  time.  On  the 
seventh  day  I  want  all  of  you  to  be  contented  and  patiently  await  for 
my  return.  Watch  the  spots  where  we  dive  with  good  desires  and 
faith."  (This  man  knew  where  the  land  was,  for  he  was  a  part  of  it, 
but  for  the  good  he  had  called  every  fowl  of  the  air  and  animal  in  the 
water  to  search  for  it. )  The  people  who  had  gathered  around  him 
listened  with  respect  and  honor  and  each  prayed  with  great  reverence. 
"Now,  people,  watch  us  carefully  and  bear  in  your  minds  to  watch 
patiently  on  the  seventh  day,"  said  he,  moving  a  little  to  one  side. 

So  this  man  took  his  Flat- Pipe  carefully  from  his  left  arm  and 
embraced  himself  with  it,  first  to  the  left  shoulder,  then  to  the  right 
shoulder,  then  back  to  the  left,  then  to  the  right,  and  lastly  to  his 
breast.  At  this  fifth  time,  the  Flat-Pipe  became  his  body,  i.  e.,  it 
adhered  to  him  in  the  center,  having  turned  into  a  red-head  duck. 
"Now,  partner,  get  ready,"  said  he.  "Come  with  me,"  said  he,  as 
he  dived  easily,  the  turtle  doing  the  same. 

There  was  a  big  ripple  on  the  surface  where  they  left,  and  the 
people   wondered  at  it.     There   were  quite  a  good   many  comments 


198       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

exchanged  among  them,  but  at  the  same  time  all  were  in  one  thought. 
For  days  and  nights  the  red-head  duck  and  turtle  were  gone,  and 
there  was  a  deep  calm  over  the  water.  Even  among  the  birds  and 
reptiles,  etc.,  there  was  tranquillity.  They  bowed  their  heads,  listened 
attentively,  and  watched  the  spots  mentioned.  The  seventh  day 
came,  and  in  the  early  morning  there  were  no  signs  of  their  return. 
In  spite  of  their  having  no  signs  that  morning,  the  birds  who  had  built 
nests  on  the  trees  and  others  sang  songs  of  praises  and  exchanged 
words  of  cheer,  prancing  around  and  enjoying  the  gentle  breeze,  and 
in  general,  peace  prevailed.  For  a  whole  day  they  watched  with 
anxiety  at  the  deserted  spots,  until  just  as  the  sun  was  about  to  set  in 
the  west,  there  came  bubbles  on  the  surface  of  the  water.  The 
people,  seeing  the  appearance  of  the  water,  gathered  close  together 
and  gazed  at  one  particular  spot.  Finally  there  came  out  to  the  sur- 
face greater  bubbles,  after  which  the  red-head  duck  stuck  his  head  out 
from  the  surface,  shook  it,  and  snorted  a  little.  Swimming  gracefully 
before  the  rest,  the  duck  gradually  got  back  to  its  original  place, 
while  at  this  time  there  came  out  another  sign  of  bubbles;  from  them 
a  turtle  was  seen  floating  on  the  surface  with  spread  feet,  looking  to 
the  man. 

The  moment  "the  red-head  duck  returned  to  its  original  place  on 
th^  water,  there  was  a  man  again,  with  the  Pipe,  awaiting  the  arrival 
of  the  turtle.  This  turtle,  swimming  to  the  man,  grunted  a  little  from 
exhaustion  and  stood  near  the  man.  On  their  arrival  there  was  great 
rejoicing  and  thanksgiving.  Each  brought  a  small  piece  of  clay  for  a 
specimen,  but  they  went  after  it  and  brought  it  to  the  people.  (This 
has  reference  to  the  two  sods  in  the  Sun  Dance  lodge).  •  The  owner 
of  the  Flat-Pipe  then  said  to  the  turtle,  '*Come  over  and  let  me  see 
how  much  of  the  clay  you  have  brought,"  at  the  same  time  opening  its 
palms.  This  man  (Hinawaye,  Arapaho)  gathered  pieces  of  clay  from 
the  lines  of  the  palms  of  the  red-head  duck,  just  as  from  the  human 
hand,  for  the  duck  was  a  part  of  the  human  being.  "Take  mine  from 
my  sides  (at  the  feet  or  legs),  and  you  can  tell  better,"  said  the  turtle, 
stretching  its  legs.  So  this  man  gathered  the  small  pieces  from  the 
turtle,  compared  them,  and  found  them  of  equal  size  and  weight.' 

This  man  then  placed  the  two  heaps  of  clay  upon  his  pipe  and 
spread  it  in  thin  layers.  Taking  his  pipe,  he  lifted  it  easily  from 
him  and   held   it  to   let  the  clay  get  thoroughly  dry.     While  he  was 

'  The  sods  varied  in  size  in  the  biglod^e.  In  regrard  to  those  standing  in  a  row  at  the  altar, 
they  represented  a  grove  of  timber  with  a  spring  or  lake  behind  it.  The  ditch  is  a  path.  The 
Lodge-Maker  stands  there  and  receives  the  lesson  from  the  grandfather.  In  other  words,  he  is 
traveling  the  same  road  that  the  first  man  had  trodden.  From  that  road  all  the  ceremonial 
performances  in  the  Oflerings-lodge  are  conducted. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  199 

holding  his  pipe  in  the  air,  he  bowed  his  head  reverently,  and  at  the 
same  time  looked  at  the  clay  to  see  if  it  was  getting  dry.  Whenever 
he  looked  up  to  see  the  clay  he  would  then  bow  his  head,  closing  his 
eyes,  for  then  he  was  in  deep  thought.  Finally,  the  clay  was  per- 
fectly dried  and  was  very  clean.  It  did  not  seem  to  blow  away.  This 
man  then  scraped  it  together  into  a  heap  and  protected  it  frona  the 
wind. 

"Now,  people,  listen  to  me.  I  want  all  of  you  to  watch  me. 
Wherever  you  shall  be,  remember  that  you  saw  me  do  this  (that  is, 
create  the  earth);  whenever  you  shall  undertake  to  do  anything, 
remember  this;  and  above  all,  remember  me  in  everything,"  said  this 
man. 

"Please  watch  me  closely  that  you  may  follow  my  footsteps  aright," 
said  he,  straightening  himself,  together  with  his  Flat-Pipe,  and  clear- 
ing his  voice.  So,  facing  to  th^  southeast,  the  man  then  took  a  small 
heap  of  this  dried  clay  and  held  it  carefully.  With  manly  voice  he 
sang  four  songs  which  are  similar  to  those  used  in  the  Rabbit-tipi  and 
Offerings-lodge.  "Now,  people,  will  you  please  watch,  and  follow  the 
course  of  this  dried  clay  as  far  as  your  eyes  can  reach,"  said  he.  So 
this  man  with  his  right  hand  gave  a  diving  motion,  holding  the  clay  at 
his  finger  tips  and  letting  it  go,  saying,  "See  it  go  far!"  The  dry  land 
was  made  in  one  big  strip,  which  the  people  saw  extended  to  a  great 
distance. 

Then  he  took  another  small  heap  of  this  dried  clay,  faced  the 
southwest,  held  the  clay  up  in  the  air,  carefully  sang  four  songs  with 
clear  voice,  and  said  with  much  spirit,  "People,  look  at  the  course  of 
this  small  heap  of  clay  as  far  as  your  eyes  can  reach!"  With  his  right 
hand  he  gave  a  diving  motion,  and  the  dry  land  was  made  in  a  big 
strip,  which  was  clean  and  broad. 

Again  he  took  from  the  Flat-Pipe  a  small  piece  of  clay  and  held 
it  carefully  in  the  air,  singing  four  songs  with  great  emotion.  "Peo- 
ple! I  want  all  of  you  to  watch  the  course  of  this  small  heap  of  clay 
as  far  as  your  eyes  can  reach,"  said  he,  breathing  lightly.  Facing  to 
the  northwest,  he  gave  a  diving  motion  which  formed  a  big  stretch  of 
dry  land.     The  land  was  clean  and  broad  in  its  appearance. 

Then  he  turned  to  the  northeast  and  stood  still  for  a  little  while, 
gathering  the  remainder  of  the  dried  clay.  He  again  took  the  small 
heap  of  dried  clay  and  held  it  carefully  in  the  air.  "Now  all  of  you 
people,  I  want  you  to  watch  the  course  of  this  clay  just  as  far  as  your 
eyes  can  reach,"  said  he,  winking  a  little.  While  he  was  holding  it, 
he  sang  four  songs  with  greater  spirit  and  expression,  and  then  with 
a  diving  motion  of  the  hand  he  let  it  go.      During  the  time  that  he  was 


200       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

performing  this  work,  he  would  raise  his  hand  in  the  air  with  his  finger 
spread  and  pray  with  it  (rub  it  on  his  forehead).  Thus  the  earth  was 
made. 

He  then  sat  down  on  the  dry  land  and  carefully  laid  his  Flat-Pipe 
on  the  ground,  facing  the  sunrise.  The  placing  of  the  clay  at  the 
fifth  time  was  made  by  the  Flat-Pipe,  and  that  is  when  he  sat  down. 

After  the  earth  was  made  with  every  living  creature,  there  was 
great  rejoicing  and  thanksgiving  for  some  time.  So  great  was  the 
Flat-Pipe  that  all  kinds  of  birds  and  animals  came  to  it  and  saw  it. 
This  man  who  preated  the  earth  sat  silently  by  his  Flat-Pipe,  and  in 
deep  thought. 

At  this  time,  this  man  awaitfcd  with  his  Flat-Pipe  to  complete  the 
creation.  So  Turtle  stepped  up  before  him  and  said,  "Since  there  is 
no  one  that  will  make  the  first  choice,  please  take  and  accept  me.  I 
want  to  tell  you  that  I  am  a  harmless  creature,  slow  to  anger,  have  a 
quiet  disposition,  and  am  very  charitable.  Again,  may  I  tell  you  that 
I  want  to  represent  the  earth  in  such  a  way,  and  also  that  my  name 
will  mean,  to  cleanse  the  sick,  to  comfort  the  bereaved,  and  to  paint." 
(The  Arapaho  term  for  turtle  is,  to  paint — blood-egg,  or  blood-stain). 
All  the  others  heard  that  the  turtle  had  made  the  best  choice  of  life, 
and  this  perhaps  set  them  to  thinking.  Then  said  the  man,  "All  you 
people  have  heard  Turtle's  remarks  to-day,  and  I  am  glad  that  he  has 
made  a  wise  choice;  it  is  very  acceptable  to  me.  And  in  view  of  the 
facts  brought  out  for  our  benefit,  his  whole  body  shall  represent  the 
creation  or  earth  with  all  things;  that  is  to  say,  the  markings  on 
the  back  of  Turtle  shall  represent  a  path,  its  four  legs  typifying  the  four 
Old  Men  or  Watchmen ;  its  legs  or  feet  shall  be  somewhat  red ;  by  its 
shield  are  represented  mountain  ranges  and  rivers.  Look  at  Turtle 
closely,  and  you  will  see  that  it  contains  the  fulfillment  of  the  desires 
requested."     So  the  turtle  was  placed  with  Flat-Pipe. 

Then  said  Kit-Fox,  standing  conspicuous  in  solemn  attitude: 
"Since  I  am  very  pretty  and  charming,  and  have  very  quick  actions, 
and  since  my  fur  is  soft,  I  desire  to  place  myself  next  to  Flat-Pipe — 
may  it  be  acceptable  to  you.  I  wish  to  live  long  on  the  earth,  and 
that  people  may  respect  and  honor  me.  If  the  people  should  take  my 
body  and  offer  it  for  their  sacrifices  to  you,  I  request  that,  if  it  be 
pleasing  to  you,  you  may  look  upon  them  and  give  them  four  hills  or 
divides  of  life."  "All  of  you  people  have  heard  Kit- Fox's  choice, 
and  it  is  a  very  good  one  and  touching,"  said  the  man.  So  the  body 
was  placed  along  the  side  of  the  Flat-Pipe. 

Said  Otter-Weed  (Yiayanakshi,  Fourth-Day-Lodge):  "Well,  I 
am  very  anxious  to  be  a  partner  with  the  Flat-Pipe,  although   I  am  a 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  201 

low  creature.  Nevertheless,  I  desire  to  be  used  by  him  as  a  cleaning 
or  packing  stick,  for  my  whole  body  is  solid,  even  at  my  joints.  I 
wish  to  say  further,  I  am  very  quiet  and  amicable  in  company;  besides, 
I  am  very  genial  and  good-natured."  "All  of  you  people  have  heard 
of  the  desire  of  Otter- Weed.  You  have  heard  his  remarks,  which  are 
very  good  and  acceptable  to  me,"  said  the  man.  So  Otter-Weed  was 
then  placed  with  the  Flat-Pipe. 

Now  Cat-Tail,  or  Tallow-Weed,  said:  "Well,  how  about  me?  You 
may  know  that  my  entire  body  is  solid  and  of  a  healthy  glow,  besides 
bearing  a  soft  and  generous  heart.  I  am  very  fond  of  company  and 
ready  to  take  the  last  of  everything  (that  is  the  reason  why  the  cat- 
tail stands  a  little  distance  from  the  spring),  and  in  all,  kind  to 
others."  "All  you  people  have  heard  Cat-tail's  remarks,  which  are 
very  good  and  acceptable  to  me.  Although  there  is  one  already,  it 
can  be  permitted  for  good,"  said  the  man.  So  Tallow-Weed  was  then 
placed  together  with  Otter-Weed.' 

Then  said  White-Buffalo:  "Well,  I  cannot  help  but  show  myself, 
for  I  am  meek  and  humble.  Please  take  and  accept  my  request  that 
I  may  live  long  in  happiness  and  prosperity.  You  may  know  that  I 
am  very  quiet  and  peaceable,  besides,  have  a  benevolent  disposition. 
Now  in  order  that  I  may  never  be  forgotten — and  furthermore,  I  desire 
to  be  useful  in  every  way — I  want  to  ask  that  my  body  may  be  utilized 
as  a  robe;  that  in  urgent  cases  I  desire  to  be  provident;  that  if  people 
should  take  my  body  for  sacrifice  they  rnay  be  pleased  to  remember 
me,  and  give  four  hills  of  life;  that  my  body  can  at  any  time  be  used 
in  making  a  cap,  belt,  arm  bands,  knee-bands,  pairs  of  moccasins; 
and  above  all,  I  wish  that  I  may  be  used  on  all  occasions."  (This 
animal  made  a  good  selection  or  choice  for  the  future,  and  since  that 
time,  its  body  has  become  quite  useful  among  the  Indians.)  "You  all 
have  heard  distinctly  the  kindly  remarks  of  White-Buffalo.  As  far  as 
I  can  see,  his  desires  are  very  good  and  acceptable  to  me,"  said  the 
man,  looking  at  his  Flat-Pipe.  So  the  white-buffalo  robe  was  then 
placed  with  the  Flat-Pipe. 

Said  the  eagle:  "Well,  I  wish  to  be  included  in  this  affair,  for 
which  I  come  to  give  to  the  Flat-Pipe  two  of  my  wing-feathers — the 
very  last  one  at  the  shoulder — and  hope  sincerely  that  they  will  be 
accepted.  You  see  yourself,  man,  that  my  body  (feathers)  is  pure  and 
holy.  Therefore,  I  desire  that  my  two  corner  wing-feathers  be  used 
as  'combs,'  so  that  my  father  (Flat-Pipe)  can  scratch  his  head  with 
them  instead  of  with  his  fingers,"  said  the  eagle.  "All  of  you  have 
heard  those  wise  remarks  of  the  eagle,  which  are  good  and  plain,  and 

'  This  explains  why  there  are  two  messengers  at  the  Rabbit-tipi  and  at  other  lodges. 


203       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

acceptable  to  me,"  said  the  man.     So  the  eagle  wing-feathers  were 
then  placed  with  the  Flat-Pipe. 

Then  said  Garter-Snake  (Henegei,  At-the-Arrow),  as  he  looked 
up  with  tears  in  his  eyes  and  with  pitiable  appearance:  "Having 
thought  the  former  choices  over  and  over,  I  cannot  help  but  make 
this  plea,  which  I  do  hope  may  be  pleasing  and  acceptable  to  all. 
Furthermore,  I  am  very  low  in  spirit,  and  I  desire  to  place  myself  away 
from  harm  and  violence.  You  may  know  that  I  am  very  innocent  and 
delicate  in  every  way,  I  have  a  very  faithful  disposition  and  am  ener- 
getic in  my  ways  and  reverent  toward  my  neighbors.  So,  on  behalf 
of  these  people,  I  want  to  make  this  proposition  openly,  and  with  a 
view  to  the  future  welfare  of  all,  that  instead  of  fasting  seven  days 
for  thq.  accomplishment,  the  time  of  fasting  and  offering  of  prayers  be 
limited  to  four  days.  Furthermore,  it  will  be  easier  all  around  and 
more  care  and  greater  respect  will  be  paid  to  the  Flat-Pipe.  I  also 
request  that  1  may  be  given  what  is  necessary  for  all  concerned,  and 
that  I  shall  bear  all  things  for  the  universe.  I  repeat  again  that  I 
desire  to  be  located  away  from  harm,  and  be  a  circumference  of  the 
earth.  Please  accept  my  earnest  plea,  to  the  end  that  I  may  survive 
through  eternity,"  "All  the  people  have  heard  the  remarkable 
request  of  Garter-Snake,  relative  to  future  prospects,  which  are  good 
and  promising.  They  meet  with  my  approval,  for  they  contain  bene- 
ficial ideas  and  at  the  same  time  point  to  solid  matters  which  eventu- 
ally shall  be  our  temporal  blessings,"  said  the  man,  as  he  took  a  good 
glance  at  the  earth  and  its  people.  Garter-Snake  was  then  placed 
with  the  Flat-Pipe.  During  the  time  that  this  young  man,  Garter- 
Snake,  was  asking  for  future  blessings,  there  was  great  silence,  and 
when  he  got  through,  they  responded  in  unison,  with  prayers,  asking 
that  his  wishes  be  granted.  The  young  man,  Garter-Snake,  had  gone 
for  four  days  in  search  of  land,  and  failed  to  get  to  it,  but  seeing  that 
this  "fast"  of  seven  days  meant  good  things,  he  decided  to  request 
the  method,  which  was  granted. 

"Now,  people,  I  wish  to  tell  you  that  I  am  quite  finished  with  my 
work,  so  I  wish  you  would  wait  patiently  until  I  get  ready,  so  that  you 
can  see  for  yourselves,"  said  the  man.  So  he  took  the  corner  wing- 
feather  of  the  eagle  (hathii,  onward,  or  chief  weapon)  and  pointing  it 
toward  the  southeast  he  motioned  it  toward  the  west,  thus  forming 
mountain  ranges.  "This  is  the  way  the  rivers  should  run,"  said  he. 
He  then  motioned  the  feather  several  times  to  the  east.  He  then 
motioned  again  with  the  feather,  making  the  rivers  to  run  westward. 
After  this  act,  because  of  the  mountains,  there  were  beautiful  land- 
scapes, and  because  of  the  rivers,  fertile  valleys  with  trees  having 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  203 

green  foliage,  afld  in  fact  the  earth  was  clothed  with  an  abundance  of 
grass.  After  he  saw  what  he  had  made,  he  was  much  pleased  with  the 
appearance. 

While  this  man  was  preparing  for  another  important  matter,  there 
came  Nih'a"Qa°  with  a  staff.  The  people  knew  him  and  called  him 
Nih'a"9a",  Bitter-Man,  from  the  fact  that  he  reached  the  gathering  to- 
ward the  last  part  of  the  creation,  carrying  a  cane,  such  as  a  leader  uses. 

"Well,  I  have  just  arrived,  for  I  didn't  hear  of  the  gathering. 
Nevertheless,  I  am  glad  to  be  here.  Is  the  creation  of  the  earth  with 
all  the  essential  parts  finished?  If  not,  I  would  like  to  make  a  plea, 
although  all  things  may  have  been  mentioned,"  said  he,  still  panting 
and  in  restless  attitude.  "Oh,  no,  the  gathering  is  not  over  yet,  and 
I  am  still  placing  objects  for  guidance  in  the  future,"  said  the  man. 
"Say,  Man,  can  I  have  a  word  in  the  matter,  subject  to  your  approval?" 
said  Nih'a"(pa".  "It  will  be  all  right  for  you  to  give  your  views,  but 
everything  is  taken  or  occupied,"  said  the  man.  At  this  time  the 
man  repeated  what  position  each  man  had  chosen,  his  usefulness, 
etc.  Nih'a"9a",  seeing  this  man  doing  wonderful  acts  with  the  feather 
as  a  pointer,  was  fascinated  with  the  power.  When  White-Man  had 
just  arrived  and  stood  resting  on  his  staff  before  the  man,  he  was 
asked  of  the  article  and  its  meaning.  "This  is  my  staff  (hagada, 
payment  for  service),'  it  is  made  of  the  cat's  tail,  only  I  have  bent  it 
at  the  top  for  a  handle,"  said  White-Man,  taking  occasional  breaths 
through  his  nostrils.  "Well,  since  others  have  made  their  choices, 
and  no  doubt  they  are  worthy,  but  being  quite  late,  I  want  to  tell  you 
that  my  sincere  desire  would  be  to  have  the  understanding,  intelli- 
gence, and  wisdom  to  make  and  think  of  things,  and  that  I  desire  to 
have  a  share  of  this  land  which  has  recently  been  made,"  said  he, 
looking  around  with  sharp  eyes  and  signs  of  energy.  "I  saw  you 
motioning  the  mountains  and  rivers  with  that  wing-feather,  and  those 
things  were  actually  made.  In  view  of  the  fact  that  I  desire  the  abil- 
ity of  doing  things,  may  I  lift  my  staff  and  motion  for  mountains  and 
rivers?"  said  Nih'a"<pa°.  "All  of  you  may  know  that  Nih'a"9a"  has 
arrived  and  makes  the  earnest  plea  for  wisdom  and  a  share  of  this 
land.  We  are  aiming  for  the  good  and  it  is  a  good  proposition,  so  it 
meets  with  my  approval,"  said  the  man.  So  Nih'a^^a"  was  told  to 
make  the  motion  for  more  mountains  and  rivers,  if  he  desired.  With- 
out further  plea,  he  lifted  his  staff  and  motioned  in  every  direction, 
forming  hills  and  creeks  of  all  sizes.  All  the  people  stood  murmuring 
against  him,  for  they  were  much  amazed  at  the  choice. 

•  From  this  can  be  better  understood  why  the  grandfathers  obtain  payments  from  others  for 
being  teachers 


204       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

*'Now,  people,  I  want  all  of  you  to  watch  and  listen  to  me  that 
you  may  do  these  things  in  your  favor  and  to  lighten  your  footsteps. 
On  behalf  of  my  Flat-Pipe,  I  want  to  say  that  there  will  be  four  paints 
scattered  and  be  sure  that  you  know  them  perfectly,"  said  he,  as  he 
glanced  at  the  Flat-Pipe.  So  this  man  then  took  up  a  small  heap  of 
earth,  and  said,  with  strong  voice,  "This  shall  be  the  black  paint 
(wahtapa,  dark  blood),"  throwing  it  with  a  diving  motion  of  the  hand, 
thus  locating  one  Old-Man.  Taking  another  small  heap  of  earth,  he 
said,  with  strong  voice,  "This  shall  be  a  yellow  paint  (nehwana, 
growing  blood),"  throwing  it  with  diving  motion  of  the  iiand,  thus 
locating  another  Old-Man.  Taking  another  small  heap  of  earth,  he 
said  with  strong  voice,  "This  shall  be  the  red  paint  (hinawu,  man's 
blood),"  throwing  it  with  a  diving  motion  of  the  hand,  thus  locating 
another  Old-Man.  Taking  another  small  heap  of  earth,  he  said,  with 
a  strong  voice,  "This  shall  be  the  green  paint  (nagawthinash,  eagle- 
feather  arm),"  throwing  it  with  a  diving  motion  of  the  hand,  thus 
locating  the  fourth  Old-Man.  At  the  same  time  the  paints  were  placed 
at  these  cardinal  points;  thus  were  night,  day,  summer,  and  winter 
announced. 

"Now,  people,  come  closer  and  see  how  I  am  going  to  do  for 
your  sake,"  said  he  to  all  around.  So  he  took  up  some  cottonwood 
pith  (thoksa,  boiling-hide,  an  expression  for  brittle),  and  threw  it 
into  the  water.  This  pith  of  course  sank  into  the  water  when  thrown, 
but  came  up  quickly  to  the  surface  of  the  water.  "This  is  the  way  all 
of  you  people  shall  live  on  this  earth,"  said  the  man,  in  solemn  voice. 
All  the  people  saw  it  come  up  to  the  surface  and  thanked  him  for  the 
decision,  but  there  was  no  answer  from  Nih'a"<;;a". 

Nih'a"(pa",  stepping  closer  to  the  man,  requested  that  he  might 
say  a  word  relative  to  the  life  hereafter.  "Well,  let  me  know  what 
your  ideas  are  for  life  hereafter,  and  the  people  can  hear  you  plainly," 
said  the  man,  looking  down  at  the  ground  with  sympathetic  expression. 
"Say,  the  earth  is  not  very  large.  I  think,  that  if  we  should  increase 
rapidly,  there  would  be  no  room  for  the  rest,  therefore  another  propo- 
sition might  be  better,"  said  Nih'a"(;;a",  with  eyes  rolling  briskly. 
"Well,  let  us  hear  the  proposition,  and  we  will  think  about  it,"  said 
the  man.  So  Nih'a^^a"  got  a  pebble,  and  threw  it  into  the  water, 
and  it  sank  for  good.  "That  is  the  way  life  should  be  hereafter," 
said  he.  "All  you  people  have  heard  distinctly  of  Nih'a"9a"'s 
remarks  relative  to  the  life,  and  it  is  a  plain  one,"  said  he,  with  low 
but  manly  voice. 

"Now,  since  you  have  requested  a  share  of  this  earth,  I  shall  make 
another  one  at  another  place  for  you.     Beyond  this  there  will  be  an 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  205 

ocean,  which  will  separate  us,"  said  the  man.  So  this  man  took  a 
handful  of  earth  and  threw  it  hard  across  the  ocean  and  said,  "Wherever 
this  earth  shall  light  let  there  be  an  earth  like  this  one  for  Nih'a"9a"!" 
still  sitting  with  his  Flat-Pipe.  The  people  conversed  with  each 
other  in  one  tongue,  i.e.,  the  various  kinds  of  birds  and  water  animals 
upon  the  new  earth.  "Now,  people,  remember  this  as  long  as  you 
shall  live  upon  this  earth,  and  I  wish  to  say  yet,  that  Garter-Snake  will 
be  your  comfort  and  aid  in  the  future.  So  now  I  will  proceed  to  do  a 
favor  for  you,"  said  the  man,  glancing  at  his  Flat-Pipe. 

"Come  over  here,  Garter-Snake,  and  sit  down  close  to  me,  so 
that  you  can  see  what  is  to  come,"  said  the  man.  Many  people  came 
and  offered  themselves  as  material  for  the  Wheel,  but  many  were  indi- 
rectly unsatisfactory.  One  young  man,  Long-Stick,  a  bush  that  has 
a  slender  body,  with  dark  red  bark,  and  very  flexible,  came  up  and 
said,  "Since  this  occasion  is  for  future  good,  I  therefore  come  to  offer 
my  entire  body  for  a  circumference  of  the  Wheel.  You  may  know 
that  I  am  very  quiet  and  inclined  to  go  out  and  do  good.  So  please 
accept  my  earnest  plea,  so  that  my  name  may  live  a  long  time."  The 
offer  was  accepted  and  Long-Stick  was  made  into  a  ring  for  the  Wheel. 

Said  the  eagle,  stretching  its  broad  wings:  "I  am  a  bird  of  great 
flight  and  besides  my  body  is  pure  and  holy.  It  is  spotless  in  appear- 
ance. You  may  know  that  I  have  strength  and  power.  In  view  of 
the  facts  above-mentioned,  I  desire  to  be  used  for  symbols  of  the 
Old-Men,  and  that  my  whole  body  may  be  utilized  at  all  sacred  rituals. 
If  the  people  should  take  feathers  from  me  and  give  them  to  you  for 
honor  and  respect,  please  remember  me  and  give  them  a  helping  hand." 
"You  may  know  that  this  man  has  this  day  requested  faithfully  that  his 
body  be  allowed  to  be  used  for  various  purposes,  being  more  especially 
anxious  to  be  attached  to  the  Garter-Snake  (the  Wheel),"  said  the 
man.  So  the  eagle  feathers  were  tied  in  four  bunches  and  laid  by  the 
side  of  the  Wheel. 

After  the  Wheel  was  nicely  shaped,  this  man  in  the  usual  method, 
painted  it,  and  placed  the  Four-Old-Men  at  the  four  cardinal  points. 
Not  only  were  these  Old-Men  being  located  on  the  Wheel,  but  also  the 
morning  star  (cross);  a  collection  of  stars  sitting  together,  perhaps 
the  Pleiades ;  the  evening  star  ( Lone-Star) ;  chain  of  stars,  seven  buffalo 
bulls;  five  stars  called  a  "hand,"  and  a  chain  of  stars,  which  is  the 
lance;  a  circular  group  of  seven  stars  overhead,  called  the  "old- 
camp";  the  sun,  moon,  and  Milky  Way.' 

'Sun  means  "  snow  eye,"  while  moon  means  "night  eye.''  The  path  mentioned  is  that 
streak  which  is  made  across  the  water  in  the  wooden  bowl,  also  in  the  center  of  the  skull.  The  road 
which  the  rest  of  the  things  bear  is  the  ditch  in  front  of  the  buffalo  skull. 

In  regard  to  the  two  paints  on  the  tallow,  it  is  said  that  red  paint  was  the  starting-point 


2o6        Field  Columbian  Museum — Anthropology,  Vol.  IV. 

Since  there  were  four  distinct  paints  laid  down  by  the  man,  two 
of  them  were  used  in  order  that  good  may  be  obtained  in  the  future, 
i.  e.,  not  doing  the  things  beyond  the  natural  law  or  commandments. 
Thus,  the  Wheel  was  completed  and  given  to  Garter-Snake,  and  he 
was  very  happy  to  be  an  emblem  to  the  people. 

Then  said  Badger,  "I  am  very  anxious  to  be  taken  in  and  to  be 
allowed  a  privilege  in  the  affair.  I  want  to  tell  you  that  it  is  my  sin?- 
cere  desire  to  be  used  as  material  for  the  undertaking.  You  may 
know  that  I  am  always  on  the  alert  during  the  night,  and  my  ways  are 
such  that  they  are  pleasant;  besides,  I  have  strength  and  endurance 
against  evil.  Oh,  yes,  my  habits  are  meek  and  humble,  and  therefore 
I  come  forward  that  you  may  accept  my  plea."  "All  of  you  people 
have  heard  the  badger's  desire,  and  I  am  in  sympathy  with  the  request, 
so  you  know  that  its  body. can  be  used,"  said  the  man  to  Garter-Snake. 

Said  the  Cottonwood:  "Since  this  undertaking  is  for  the  general 
good,  I  respectfully  request  that  I  may  be  used  as  the  framework. 
You  may  know  that  I  am  always  happy,  for  the  fact  that  I  grow 
rapidly  and  am  very  clean.  I  am  meek  in  my  ways  and  always  ready 
to  do  much  good."  "You  may  all  know  that  this  young  man  before 
us  makes  this  earnest  plea,  and  it  is  quite  satisfactory  to  me,"  said  the 
man.  So  this  young  man  was  accepted,  and  his  entire  body  distributed 
properly  and  widely. 

Said  Cedar-Tree:  "May  I  be  taken  and  accepted  without  the 
slightest  objection,  for  I  am  very  faithful  and  full  of  vigor.  No  matter 
how  embarrassing  it  may  be,  I  am  contented  to  stand  solid  in  my 
ways.  You  may  know  that  I  am  always  happy,  and  ever  delighted 
with  everything  that  makes  life  sweet.  My  whole  body  is  pure  and 
everlasting,  so  please,  I  desire  to  be  used  as  material."  "All  of  you 
have  heard  of  Cedar-Tree's  desire.  In  view  of  the  facts  stated  by 
him,  I  fully  concur  with  him,"  said  the  man  to  Garter-Snake.  So 
Cedar-Tree  was  then  taken.  Its  usefulness  was  stated  and  it  was  laid 
with  the  rest. 

Said  Willow:  "Since  there  is  not  one  at  present  to  make  the  next 
choice,  I  wish  to  make  this  request:  That  I  may  be  permitted  to  be 
used  as  a  part  of  the  material.  You  may  all  know  that  I  am  just  and 
upright  and  ready  to  respond  and  have  a  good  feeling  toward  every- 
body.    I  think  that  I  should  be  allowed  for  the  fact  that  I  am  a  gener- 

being  on  the  right  side,  while  black  paint  was  placed  on  the  left,  making  a  division  for  bad  and 
good.  The  object  of  placing  the  red  paint  on  the  right  side  is  to  symboTize  the  fact  that  the  head  of 
the  garter-snake  protects  from  injury,  as  does  also  the  right  hand:  the  right  hand  represents  blood- 
shed or  war,  for  it  strikes  for  protection.  When  we  have  temptations  to  do  wrong  we  use  the  right 
hand  for  bad  deeds,  etc.  The  hind  part  of  the  snake  is  harmless;  it  means  peace,  etc.  The  black 
paint  is  an  emblem  of  peace  and  good-will.  It  typifies  innocence  and  brotherly  love  among  the 
people. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  207 

ous  creature  and  want  company  all  the  time. "  "You  all  may  know  that 
this  young  man  has  requested  earnestly  before  us  to  be  used  in  the 
occasion,  and  his  statements  are  justifiable  and  benevolent,"  said  the 
owner  of  the  Flat-Pipe.  So  Willow  was  then  placed  with  the  res^  at 
the  proper  seat,  and  its  usefulness  pointed  out. 

Said  Red-Bush:  "Well,  seeing  what  is  going  on,  and  fully  under- 
standing the  object  of  this  gathering,  I  cannot  help  but  step  forward 
and  make  this  plea:  First,  I  want  to  tell  you  I  am  an  honest  man  and 
full  of  compassion,  besides,  my  whole  body  is  healthy  and  I  have  a 
happy  glow  in  my  face.  So  please  take  and  accept  me."  "You  have 
just  recently  listened  to  this  young  man's  desire,  and  as  his  reputation 
and  character  are  so  good  and  clean,  it  meets  with  my  approval,"  said 
the  man.  So  Red-Bush  was  then  placed  at  the  proper  position,  and 
its  usefulness  stated.  (It  is  used  for  tipi  breastpins,  tipi  stake-pins, 
etc.) 

Said  Water-Grass:  "Say,  please  take  me  and  accept  my  body  for 
material  on  this  occasion.  You  may  know  that  I  am  all  right,  faithful 
in  my  ways,  and  reverent  with  everything.  I  have  a  very  peaceable 
disposition  and  am  inclined  to  do  good."  "You  may  know  that  this 
young  man  makes  this  plea  to  us,  and  in  view  of  his  statements,  it 
agrees  with  me.      He  is  just  in  his  thoughts,"  said  the  man. 

Said  Rabbit- Weeds,  in  unison:  "Well,  we  cannot  help  but  step 
forward  and  make  this  request  before  you:  We  desire  to  be  used  on 
the  occasion.  We  are  good  people,  with  kind  deeds  and  good  actions. 
We  are  so  fond  of  everything  that  we  want  to  be  conspicuous,  in  order 
to  be  known  widely,  so  please  take  us,  and  accept  our  earnest  desires." 
"You  people,  listen  to  me!  Having  heard  the  ambitious  remarks  of 
these  young  men,  and  considering  their  idea,  I  am  in  harmony  with 
them,"  said  the  man.  So  Rabbit- Weeds  were  then  placed  with  the 
rest,  in  their  proper  position. 

Said  Rabbit:  "Yes,  all  of  my  friends  have  made  their  choice  for 
one  or  more  purposes,  so,  seeing  that  nearly  all  the  places  are  being 
occupied,  I  come  forward  to  make  this  plea,  which  I  do  hope  you  will 
grant:  You  may  know  that  I  am  innocent,  gentle  in  many  ways,  soft 
in  my  words,  happy  in  company  and  elsewhere,  and  in  every  possible 
way  intend  to  give  kind  and  sympathizing  advice.  Furthermore,  my 
entire  body  is  clean  and  soft,  yet  strong.  So,  please,  I  "desire  to  be 
used  throughout  the  occasion,  so  that  my  name  will  be  remembered 
eternally  and  that  I  may  be  a  useful  companion."  "All  of  you  people 
have  heard  this  young  man's  remarks,  which  contain  many  good 
points;  therefore  I  fully  conform  to  his  desire.  He  shall  be  a  great 
comfort  and  an  adviser  for  days  to  come,"  said  the  man. 


2o8       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

The  eagle  and  white  buffalo,  seeing  the  people  engaged  in  the 
interesting  undertaking,  and  in  view  of  the  valuable  lessons  outlined 
and  previously  given,  requested  for  good  points  or  for  better  usage, 
and  again  requested  that  they,  too,  be  taken  in  and  accepted  in  the 
occasion.  Each  repeated  the  same  words  they  gave  to  the  man  at  one 
occasion.  "You  may  all  know  that  the  eagle  and  white  buffalo  have 
again  expressed  their  desire  to  be  used  as  the  material  of  the  occasion. 
In  view  of  their  thoughts,  I  am  fully  agreed  with  them,"  said  the  man, 
looking  at  Garter-Snake.  Thus  the  whole  thing  was  directed  and 
made  holy,  with  all  the  care  and  much  thought. 

After  the  earth  was  fully  made,  with  the  animal  kingdom  and 
vegetation,  the  man  who  had  floated  for  days  and  nights  on  the  water 
made  an  image  of  a  woman  for  a  companion,  and  breathed  life  into  her. 

Having  lived  together  for  some  time,  enjoying  natural  resources, 
the  owner  of  the  Flat-Pipe  decided  that  they  should  have  a  child  to 
live  with  them.  So  one  day,  while  they  were  out  wandering  and  view- 
ing the  beautiful  land,  the  man  again  made  a  clay  image  of  a  boy 
child,  and  put  life  into  him. 

For  some  reason,  this  boy  became  sick  and  became  very  thin  in 
flesh.  Since  the  father  and  mother  were  fond  of  the  boy  and  did  not 
like  to  lose  to  him,  the  father  made  a  vow  that  a  Sun  Dance  lodge 
should  be  erected  for  the  resurrection  of  the  sick  boy.  The  mother 
thanked  her  husband  for  the  kind  deed. 

So  one  bright  morning  the  owner  of  the  Flat-Pipe  started  off, 
stopping  at  four  different  places,  and  announced  it  with  a  loud  cry  to  all 
the  birds  and  beasts,  who  were  very  much  pleased  at  the  undertaking. 
In  the  course  of  time  the  sick  boy  was  made  whole  and  gave  thanks 
for  his  recovery. 

All  the  various  species  of  birds  and  beasts  of  every  kind  then  con- 
gregated for  the  ceremony.  The  whole  lodge  was  prepared  and  put 
up  by  the  man  and  wife,  aided  by  the  birds  and  beasts.  This  lodge 
lasted  four  days  and  nights.  When  it  was  over,  it  gave  quite  a  good 
deal  of  satisfaction  to  all,  besides  healing  the  boy. 

The  owner  of  the  Flat-Pipe,  with  his  wife,  were  the  "Givers"  or 
pledgers,  for  the  benefit  of  their  boy. 

Time  lapsed  and  the  man  and  wife  with  their  boy  multiplied,  thus 
forming  a  big  camp-circle.  In  one  family  there  was  a  boy  who  was 
suddenly  taken  ill,  and  gradually  sank.  Since  he  was  the  only  child, 
his  father  went  to  the  owner  of  the  Flat-Pipe  and  requested  that  a 
similar  lodge  be  put  up  immediately  for  the  benefit  of  the  sick  boy. 
The  owner  of  the  Flat-Pipe  responded  in  good  manner  and  tone,  say- 
ing that  the  pledger  had  done  what  was  just  and  upright.    So  the  whole 


May,  1903.          The  Arapaho  Sun  Dance — Dorsev.  209" 

camp  moved  into  another  place  and  formed  in  a  circle.  The  owner 
of  the  Flat-Pipe  then  taught  the  people  the  proper  way  to  conduct  the 
ceremony  by  having  an  old  man  carry  a  pipe,  buffalo  tail,  painting 
himself  with  natural  red  paint,  and  making  the  announcement  of  the 
lodge:  "All  you  members  of  the  Kit-Fox  society,  members  of  the  Star 
society,  those  of  the  Club-Board,  Thunderbird,  Lime-Crazy,  Dog- 
soldiers',  Buffalo,  Old-Men's,  and  Water-Pouring  lodges,  listen  this 
day,  that  all  the  remainder  of  our  days  may  be  brighter,  that  there 
may  be  an  abundance  of  vegetation,  that  through  the  merits  of  Flat- 
Pipe  we  may  be  protected  from  plague."  So  now  he  called  every  one 
to  be  in  one  accord,  that  in  the  end,  they  should  be  prosperous  and 
abide  in  peace  hereafter. 

When  the  old  man  went  out,  there  were  many  people  standing 
outside  in  front  of  their  respective  tipis,  to  see  and  hear  the  first 
announcement.  Seeing  the  old  man  stopping  affour  places,  and  hear- 
ing him  mention  the  different  lodges  and  cry  with  a  loud  voice,  the 
people  uttered  words  of  thanks,  such  as:  "May  this  cry  of  mercy  be 
sympathizing  unto  me,  so  that  I  may  become  an  old  man!"  "Oh!  I 
do  wish  to  be  healthy;  so  with  my  dear  children!"  "Thanks!  May 
I  overcome  trials  and  hardships  and  follow  a  straight  path!"  "Yes! 
I  want  to  get  well  and  be  able  to  get  around."  "May  it  be  pleasant 
and  forgiving  in  my  daily  footsteps!"  "I  do  wish  that  hereafter  I 
may  live  in  peace  and  harmony!"  "Thanks!  Joy  to  me,  and  also  to 
my  relatives!" 

Then  the  Rabit-tipi,  in  which  all  the  things  are  made  and  painted 
for  the  big  lodge,  was  placed  within  the  camp-circle.  The  owner  of 
the  Flat-Pipe  made  a  shallow  circular  hole  back  of  the  skull  and  ditch, 
which  afterwards  contained  water  that  remained  until  all  had  taken 
a  good  drink  for  health  and  prosperity. 

When  he  had  caused  the  water  to  be  in  that  little  hole,  there  came 
a  flock  of  geese  flying,  cackling,  and  circling  as  they  advanced.  Fly- 
ing in  file  they  came  down  and  drank  four  times;  then  the  rest  of  the 
people  followed,  doing  the  same  way;  but  there  was  a  continuous 
flowing  of  sweet-water.  After  all  had  quenched  their  thirst  there  was 
plenty  of  it  left. 

The  Lodge-Maker  and  dancers  wore  paints  alike  during  the  entire 
ceremony,  i.  e.,  they  were  painted  in  white  clay,  decorated  with  dark 
circles  at  the  wrists  and  ankles,  also  diamonds  in  black,  green,  yellow, 
and  pink. 

When  the  lodge  was  about  to  be  put  up,  the  birds,  animals,  and 
trees  volunteered  themselves  for  the  material  of  the  lodge,  so  that  all 
those  things  were  admitted,  according  to  strength,  purity,  and  height. 


210       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

When  the  Sun  Dance  was  nearly  over,  it  being  the  last  day,  there 
came  a  Nih'a"Qa"  from  a  distant  land.  Hearing  the  beating  of  the 
drum,  and  the  people  singing  at  the  top  of  their  voices,  he  went  to  the 
queer-looking  object  standing  in  the  center  of  the  camp-circle.  As 
he  advanced  closer  to  it,  he  saw  quite  a  crowd  of  spectators  all  around 
the  lodge,  except  a  little  opening  at  the  back  of  it.  The  people  did 
not  notice  him  much,  tor  there  was  great  rejoicing  among  the  men 
and  women.  After  failing  to  see  the  inside  of  the  lodge  at  both  sides 
and  at  the  door,  he  walked  around  it  and  made  his  way  until  he  suc- 
ceeded in  getting  a  glance  at  the  dancers.  Since  there  were  continu- 
ous noises  by  the  singers,  old  men  and  old  women,  to  cheer  the 
dancers,  Nih'a"9a°  gradually  pushed  forward  until  he  stuck  his  head 
into  branches  of  Cottonwood,  which  was  an  elk  skull.  After  he  had 
stuck  his  head  into  the  skull  a  crowd  of  large  and  small  mice  dispersed 
from  the  interior.  These  creatures  were  the  people  who  had  had  the 
Sun  Dance  lodge.  Nih'a°<;:a"  was  very  much  pleased  with  the  cere- 
mony, so  that  he  took  pains  to  witness  the  interior. 

Nih'a"(;:a"  walked  off  toward,  the  river,  feeling  his  way  as  he  went. 
"What  kind  of  weeds  do  you  belong  to?"  said  he,  as  he  felt  them. 
"Well,  Nih'a"9a",  you  may  know  that  we  belong  to  a  sage  weed," 
said  they.  "That  will  do,  I  am  on  the  right  path  to  the  river,  for 
these  weeds  grow  just  a  short  distance  from  the  river, "  said  Nih'a"9a". 
He  then  started  off  again,  feeling  as  he  went,  because  he  had  an 
elk  skull  for  cap.  "To  what  kind  of  weeds  do  you  belong?"  said 
he,  as  he  felt.  "Well,  Nih'a"9a",  you  may  know  that  I  am  a  blue- 
stem  grass,"  said  the  grass.  "Good I  Good!  I  am  still  getting 
closer  to  the  river,  for  this  grass  grows  in  the  swampy  places  along 
the  river,"  said  he.  He  then  started  again,  feeling  as  he  went  along. 
"Say,  to  what  kind  of  tree  do  you  belong?"  said  he,  as  he  was  holding 
the  body  of  a  tree.  "Well,  Nih'a''9a",  you  may  know  that  I  am  an 
elm  tree,"  said  the  tree.  "Oh!  that  is  good,  I  am  so  glad  to  get 
along  nicely,  for  this  tree  stands  in  the  open  near  the  river,"  said  he. 
He  then  walked  off  slowly,  feeling  as  he  went  along.  "Well!  Well! 
To  what  kind  of  tree  do  you  belong?"  said  he,  holding  the  body  of 
another  tree  and  embracing  it.  "Nih'a"9a",  I  am  a  cottonwood 
tree,"  said  the  tree.  "Oh,  yes!  I  know  who  you  are,  that  is  a  good 
companion.  Surely  I  am  going  to  the  river,"  said  he.  So  he  walked 
away,  feeling  bushes  as  he  went  along.  "Well,  who  are  you?  What 
kind  of  bush  do  you  belong  to?"  said  he,  holding  some  bushes  at  the 
tops.  "Well,  Nih'a"9a",  you  may  know  that  I  am  willow,  who  stands 
just  at  the  edge  of  the  water,"  said  the  willow.  "Good!  Good  for 
me!     I  am  thankful  to  you  for  your  kindness  and  hospitality,"  said 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  211 

he,  standing  impatiently.  So  he  walked  off  slowly  and  carefully,  u.ntil 
he  stepped  on  a  sand-bar,  then  to  the  water,  throwing  himself  into  it. 
Instead  of  being  annoyed  with  the  skull,  he  enjoyed  himself,  as  he 
floated  down  the  river. 

Farther  down  there  was  a  large  company  of  young  women  bath- 
ing and  enjoying  themselves  in  playing  bear  on  the  sand-bar,  and  play- 
ing leap-frog  into  deep  water.  One  of  the  young  girls,  looking  up  the 
river,  saw  an  elk  skull  floating  conspicuously,  and  told  her  companions 
about  it.  The  young  women  got  out  of  the  water  and  stood  viewing 
it  with  amazement.  One  of  them,  a  mischievous  one,  went  and 
brought  over  with  her  a  rawhide  rope  and  lassoed  the  skull.  To  the 
surprise  of  all,  the  skull  had  an  attachment  of  a  human  body,  with 
white  skin. 

Finally  the  women  dragged  the  man  with  an  elk  skull  on  to  the 
dry  sand-bar  and  viewed  it  carefully.  Another  mischievous  girl 
brought  a  stone  club  and  said,  "Oh,  partners,  let  us  crack  the  skull 
wide  open  and  see  whose  it  is!"  "All  right,"  said  they  in  one  voice, 
and  standing  together.  "Please  strike  in  the  center,  and  be  caretul 
not  to  hit  me,"  said  Nih'a"(pa",  inside  the  skull,  as  he  lay  on  the  sand- 
bar. Then  the  girl  took  the  stone  club  and  struck  the  center  of  the 
forehead  and  broke  it  into  two  pieces.  "Thank  you,  sister.  Surely 
you  are  very  kind  and  courteous,"  said  he,  as  he  got  up  from  the 
sand-bar. 

He  continued  thus,  "Well,  sisters,  since  I  am  quite  tired  and 
sleepy,  I  would  like  to  have  you  sit  down  on  this  sand-bar  and  allow 
me  to  lay  my  head  on  your  laps.  Then  I  want  you  to  louse  me,"  said 
he,  smiling  pleasantly  at  them.  "All  right,  we  are  willing  to  do  that, 
since  we  are  at  leisure.  Come  over  and  lay  your  head  on  our  laps," 
said  they,  sitting  in  a  semicircular  row.  "Thank  you,  dear  sisters,  I 
shall  be  refreshed  to  continue  my  journey, "  said  he,  scratching  his 
head  and  gaping  as  he  walked  toward  them.  He  then  laid  his  head 
gently  but  timidly  on  their  laps.  "Be  free  with  us,  just  lay  your  head 
solidly,  and  we  can  search  better,"  said  they,  touching  each  other 
secretly  on  their  sides.  "Oh,  my  dear  brother,  you  have  many  nits, 
and  they  are  quite  fresh.  Brother,  here  is  a  fat  one,  you  take  it  and 
crush  it.  My  dear  brother,  you  have  quite  young  ones,  and  fat. 
Yes,  they  crack  very  nicely,"  said  they,  as  they  went  through  his 
hair  with  their  fingers.  Sometimes  they  cracked  the  sand,  to  make 
him  feel  good,  and  finally  he  went  soundly  to  sleep. 

After  Nih*a"9a"  had  gone  to  sleep,  these  women  (cockle-burrs) 
collected  so  thickly  and  tightly  on  his  head  that  his  entire  face  was 
drawn  and  quite  painful.      When  he  awoke  he  found  himself  alone  and 


212       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

his  face  felt  peculiarly.  He  reached  to  feel  of  his  head,  as  any  one 
would  do  after  a  rest,  and  he  found  it  covered  with  numberless  cockle- 
burrs,  tangled  thickly.  "Oh,  my!  Such  is  the  luck!  I  cannot  help 
it,  for  I  am  careless  sometimes,"  said  he  starting  off  and  following  the 
course  of  the  river. 

As  he  was  traveling,  he  ran  across  a  mouse,  and  said,  "Say, 
partner,  stop  a  moment,  will  you.  I  wish  you  would  go  out  to  your 
kind  and  tell  them  that  I  want  you  with  them  to  cut  my  hair  closely," 
said  he.  "All  right,  I  shall  run  over  quickly,"  said  the  mouse,  run- 
ning fast  and  dragging  his  tail  on  the  smooth  ground.  White-Man 
waited  in  agony  for  some  time  until  the  mice  had  come.  So  he  lay 
down  on  the  ground,  and  the  mice  went  to  work  cutting  his  hair 
closely.  These  animals  were  having  a  good  time — some  of  thein 
carried  his  hair  to  their  quarters  for  some  purpose,  while  others  ran  a 
race  on  his  arms  and  legs.  Feeling  quite  relieved,  he  got  up  and 
walked  away  in  despair. 

Before  he  reached  home  he  was  crying  unmercifully  toward  his 
tipi.  "Oh!  That  crazy  Nih'a"(pa",  he  must  have  met  with  an  acci- 
dent, or  he  must  have  been  misguided,"  said  his  wife.  "What  is  the 
matter  with  you?"  said  she,  looking  angrily  at  him.  He  could  not  say 
anything,  but  kept  on  sneezing,  coughing,  and  weeping  till  at  last  he 
said  to  his  wife,  "Oh,  my  dear,  they  told  me  that  my  whole  tipi  was 
massacred,  and  I  went  to  work  and  cut  my  hair  to  mourn  my  loss. 
Oh !  I  cannot  help  but  weep  bitterly,  for  I  do  love  you  deariy,  and 
the  children,"  said  he,  wiping  his  tears  away, 

LITTLE-STAR. 

In  the  sky  there  is  a  big  camp-circle,  controlled  by  a  man  and 
wife,  with  two  boys.  This  family  was  innocent,  yet  very  generous  in 
heart  and  very  industrious,  manually  and  mentally. 

Their  tipi  was  formed  by  daylight,  and  the  entrance  (door)  was 
the  sun.  This  tipi  was  fastened  by  means  of  short  eagle-wing  feathers 
from  next  to  the  shoulder. 

These  young  men  were  on  the  go  all  the  time,  and  of  course  would 
see  many  people  and  animals.  They  would  be  absent  from  home  most 
of  the  time,  while  the  parents  remained  at  home  thinking  about  them 
and  their  belongings. 

One  night  when  these  two  young  men  were  at  home  they  were 
consulting  each  other  about  looking  for  wives.  Finally  they  agreed 
to  search  for  their  respective  wives.  So  when  the  next  night  came, 
the  oldest  son.  Sun,  clearing  his  throat  and  seating  himself  erect, 
stated  their  desires  to  their  father,  saying:  "Say,  dear  father,  we  have 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  213 

been  single  long  enough,  and  besides  we  have  carefully  thought  and 
thought  over  the  matter,  not  only  for  our  own  individual  welfare,  but 
to  lessen  your  toils  and  to  make  you  be  more  contented.  We  want  to 
be  at  home  most  of  the  time;  and  in  that  way  you  old  people  would 
not  worry  much  about  us.  We  can  be  made  happier  and  be  freer 
in  our  speech  than  by  getting  out  separately.  Therefore,  in  view  of 
the  facts  mentioned,  for  your  sakes,  we  would  like  to  start  out  and 
search  for  wives.  We  are  very  earnest  in  this  undertaking,  aod  in 
order  to  be  successful,  we  respectfully  request  your  consent  and  advice. 
My  dear  brother  and  I  would  like  to  get  out  and  court  some  women 
below.  Can't  you  let  us  go  and  search  for  wives?"  said  Sun,  with 
manly  voice,  to  their  father  who  was  leaning  against  his  lean-back  with 
his  legs  crossed,  his  wife  occupying  the  other  end  of  the  bed,  sitting 
by  him  and  facing  the  door. 

"Well,  dear  children,  it  is  your  pleasure  to  do  what  is  best  and 
acceptable  to  all  concerned.  If  you  and  your  dear  brother  have  had 
private  council  and  decided  to  get  out  and  search  for  wives  to  the  end 
that  we  may  all  be  happy  and  contented,  I  cannot  see  anything  wrong 
in  that  pursuit.  Do  you  think  so,  dear  wife?"  said  the  father,  respect- 
fully. "Oh,  no,  it  is  of  no  use  to  keep  our  children  from  nature's  gifts," 
said  the  mother.  "Well,  then,  dear  children,  mark  my  word.  Your 
mother  has  just  said  that  she  hasn't  the  slightest  objection,  because 
you  are  both  at  your  prime  of  life.  Inasmuch  as  you  are  energetic  for 
the  undertaking,  I  want  to  give  this  caution  to  you,  although  you  are 
still  young  in  thought  and  weak  in  conscience,  remember  that  both  of 
you  have  a  father  and  mother  to  live  with.  When  you  leave  us,  think 
again  that  we  shall  be  on  the  lookout  for  good  results.  I  want  you, 
my  dear  children,  to  be  careful  on  the  way,  guide  your  footsteps,  and 
be  sure  and  look  ahead.  When  you  reach  the  place,  don't  stay  too 
long,  but  come  back  early.  Be  obedient  to  us,  dear  children,"  said 
the  father,  still  lying  on  the  bed  with  his  head  against  the  lean-back. 
"Say,  dear  children,  behave  before  the  people.  Please  remember  that 
you  must  return  soon.  Show  yourselves  before  the  others  to  be  true 
men,  and  above  all,  be  careful  in  your  selections,  be  honest  in  your 
dealings,  and  bear  in  mind  to  come  home  soon,"  said  the  mother, 
with  pathetic  voice  and  much  emotion.  "All  right,  we  shall  try  to  be 
good,  to  come  home  soon,"  said  Sun, 

So  both  started  off  independently  and  with  eagerness  to  succeed. 
Their  home  was  on  the  left  side  of  a  river  called  "Eagle  River." 
This  river  ran  from  west  to  east.  Before  starting  off,  Sun  asked  his 
brother  what  kind  of  wife  he  was  going  to  get.  After  Moon  had 
looked  along  his  road  where  he  had  seen  different  types  of  people,  he 


214        Field  Columbian  Museum — Anthropology,  Vol.  IV. 

decided  to  persuade  a  human  woman,  thawwathinintarihisi  (resur- 
rected woman).  But  Sun  chose  a  water  animal  from  the  river.  "Say, 
brother,  I  think  you  have  not  made  a  good  choice,  for  this  reason, 
and  it  is  a  fact,  too.  When  I  am  traveling  along  and  look  upon  the 
people  below,  those  people  look  homely  and  ugly  about  their  faces. 
When  they  look  up  toward  me  their  eyes  almost  close  with  a  mean 
appearance.  I  cannot  bear  to  see  their  disgusting  faces;  therefore, 
in  my  judgment,  I  consider  my  choice  is  the  fascinating  one.  In  view 
of  the  complexions  of  the  people  I  have  found  that  the  toad  excels  in 
beauty  and  form.  When  the  toad  looks  at  me,  she  does  not  make 
faces  like  the  human  woman.  She  gives  her  attention  to  me  without 
a  single  wrinkle  about  her  eyes,  and  has  a  very  pleasing  mouth.  She 
has  a  disposition  to  love  dearly,"  said  Sun,  proudly,  referring  to  the 
sticking  out  of  its  tongue.  "Well,  dear  brother,  when  I  pass  the  tipis 
of  those  human  women  and  they  look  at  me,  they  are  so  handsome 
and  benevolent.  It  is  of  no  use  to  talk;  those  women  are  genuine. 
Their  ways  and  habits  are  decent,  and  they  are  law-abiding.  Of 
course  I  don't  want  to  turn  you  from  your  choice;  it  is  simply  an 
explanatory  statement  on  my  part.  Well,  dear  brother,  we  must  be 
going,"  said  Moon. 

The  older  brother  went  down  the  river,  while  the  younger  one 
took  his  journey  up  the  river.  Their  journeys  began  when  the  "moon 
died,"  or  on  the  disappearance  of  the  moon  after  the  full  moon.  They 
went  in  opposite  directions,  viz.,  east  and  west.  On  their  way  they 
had  two  days  of  cloudy  weather  (dark),  two  days  of  "rest"  (holy), 
and  two  days  before  new  moon.  All  this  time  both  went  on  the  jour- 
ney, seeking  for  their  wives,  until  they  reached  the  place. 

Moon,  walking  up  the  river,  finally  reached  a  big  camp-circle. 
From  the  distance  he  heard  much  noise  of  people  and  dogs.  The 
tumult  in  the  camp  arose  from  the  games  and  occupations  of  the 
people.  To  him  the  atmosphere  from  all  directions,  fragrant  with 
vegetables,  herbs,  and  weeds,  was  pleasant,  while  the  scenery  at  the 
horizon  was  grand.  The  earth  he  had  trodden  was  well  bedded,  and 
the  river  he  saw  mirrored  trees  and  heavenly  signs.  As  he  advanced 
closer  to  the  camp-circle,  he  was  delighted  with  the  sweetness  of  the 
melody  of  the  birds  and  reptiles  and  insects. 

Looking  at  the  natural  resources  on  his  way,  and  thinking  what 
grand  and  glorious  things  the  people  had,  he  saw  two  young  women 
coming  down  the  river,  carrying  lariats.  "Now  this  is  what  I  came 
down  for;  it  is  my  great  chance,"  said  Moon,  taking  a  good  look  at 
them.  Seeing  that  the  two  young  women  were  still  coming  and  get- 
ting closer  to  him,  he  then  squatted  down  in  the  bushes  and  became  a 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  215 

porcupine.  The  women  each  took  their  trail  for  wood.  This  porcu- 
pine was  near  a  tall  cottonwood  tree  and  watched  the  courses  of  the 
women.  Finally,  one  of  them  came  within  a  short  distance  of  the 
porcupine,  and  the  porcupine  got  up  suddenly  from  the  bushes  and  ran 
away.  "Oh,  partner,  run  over  here,  quickly!  Here  is  a  nice  porcu- 
pine! Oh,  I  want  to  catch  it,  for  its  quills!  Say,  partner!  Come 
and  head  it  off.  Oh,  pshaw!  it  is  up  in  the  tree  now,"  said  one  of 
them,  standing  and  panting  at  the  foot  of  the  tree.  "You  ought  to 
have  hit  it  before  it  reached  the  tree."  "I  am  sorry  that  I  failed 
to  hear  sooner.  Did  you  have  a  stick  in  your  hand?"  said  the  other 
one,  still  gazing  at  the  porcupine  that  was  sitting  at  the  forked  branch. 
"Yes,  I  ran  swiftly  after  him,  but  he  got  on  the  other  side  of  the  trunk 
of  the  tree  and  ran  up  out  of  my  reach.  Oh,  he  is  a  splendid  creature, 
partner,  besides  bearing  such  beautiful  and  large  quills.  I  am  going 
to  climb  up  and  get  it;  you  may  be  sure!  I  shall  kill  it,  and  I  shall 
be  proud  to  get  such  a  specimen.  Look  at  his  long  white  quills.  My 
mother  is  out  of  quills,  and  I  have  got  to  get  them  for  her,"  said  the 
one  who  saw  the  animal  first,  taking  a  long  stick  and  beginning  to 
climb  the  tree.  When  she  had  come  within  a  short  distance  from  him, 
she  raised  the  long  stick  to  poke  him  off,  but  the  porcupine  raised  its 
head  and  moved  up  farther,  leaving  her  at  a  distance  again.  "Say, 
partner,  I  do  wish  you  would  run  over  and  get  me  a  longer  and  stouter 
stick  than  this,"  said  the  one  up  in  the  tree.  So  her  partner  did  as 
requested.  Climbing  up  farther,  and  with  the  long  stick,  the  girl  tried 
to  poke  the  porcupine  off  from  the  tree,  but  she  could  not  reach  him. 
This  porcupine  advanced  farther,  but  at  such  a  slight  distance  as  to 
encourage  her  to  make  greater  and  greater  efforts  to  reach  it.  The 
tree  had  excellent  branches,  affording  easy  climbing,  because  the  tree 
was  like  a  stepladder.  "I  have  got  to  have  you  for  those  long  quills 
and  I  am  going  up  to  get  you,  too,"  said  the  woman,  making  further 
steps  toward  the  animal.  Stepping  solidly  on  the  branches  of  this 
extended  tree,  she  raised  the  long  stick  and  tried  to  reach  him  to  poke 
him  off,  but  without  success.  Her  partner  then  saw  that  she  was  up 
a  great  height,  and  began  to  discourage  her  and  call  her  to  return,  but 
she  could  not  hear  the  warning. 

"Now,  woman,  you  are  to  know  that  I  came  after  you.  There! 
Look  down  below  and  see  your  partner.  I  want  to  let  her  know  where 
we  are  going  to,"  said  the  porcupine,  moving  around  a  little.  This 
woman,  hearing  the  human  voice,  which  meant  separation  from  her 
partner,  turned  her  head  and  looked  down.  "Now,  woman,  follow 
me.  We  are  going  to  my  home,"  said  the  porcupine,  straightening 
up  and  turning  around,  a  perfect  young  man. 


2i6        Field  Columbian  Museum — Anthropology,  Vol.  IV. 

This  woman,  seeing  that  he  was  a  real  young  man  and  greatly 
charmed  by  his  glorious  attire,  started  off  with  him  without  hesita- 
tion. The  young  man  was  clothed  in  fine  skins,  and  had  a  handsome 
buffalo  robe  which  was  nicely  quilled  and  ornamented.  His  complex- 
ion was  very  fair,  and  he  had  long  black  hair.  His  footsteps  were  firm 
and  persevering,  and  his  hands  bold  and  grasping.  Reaching  the  sky, 
he  opened  a  spot  by  pushing  up  a  circular  object.  "Here  we  are  at  our 
father's  camp.  Come  up  through  this  opening,"  said  Moon.  The 
eloped  woman  hastily  climbed  up  and  went  into  the  opening  above  and 
landed  on  another  soil, 

"Wife,  there  is  the  big  camp-circle  where  my  father  lives  with  his 
wife,"  said  Moon,  covering  the  opening.  This  he  did  to  prevent  her 
from  knowing  her  destination,  and  that  she  might  forget  the  position 
of  the  entrance. 

"Oh,  yes,  that  is  a  beautiful  camp-circle.  Surely  the  life  over 
yonder  must  be  grand ;  for  around  it  is  that  gentle  hazy  atmosphere, 
besides  the  magnificent  scenery,"'  said  the  wife.  The  whole  camp- 
circle  was  on  the  left  side  of  the  river  at  a  good  distance  from  its 
source.  The  parents  of  Moon  camped  close  to  the  head  of  this  river, 
which  was  called  "Turtle  River"  (turtle  painted  red,  i.  e. ,  Red-Look- 
ing Water,  or  Pink  River).  Turtle  River  ran  from  north  to  south. 
It  did  not  have  much  timber,  but  there  were  many  cat-tails,  tall  grass, 
willows,  and  numberless  birds — cranes,  ducks,  geese,  and  other  species 
of  water-fowl.  The  current  of  Turtle  River  was  moderate,  but  it  was 
deep.     The  people  received  their  water  at  the  head  of  it. 

Moon,  after  pointing  to  the  camp-circle,  took  his  wife  around  to 
the  four  main  directions  of  the  camp,  and  showed  her  the  earth  below. 
"See, that  camp-circle  near  that  big  river.  You  are  from  that  camp. 
There  is  another  one.  See  how  nicely  they  look  from  here.  Let  us 
go  over  there,"  said  Moon.  So  they  both  went  and  stopped.  "Say, 
wife,  come  here.  Look,  there  is  another  camp-circle.  That  is 
very  nice,"  said  Moon.  Thus,  the  eloped  wife  saw  big  camp-circles 
below.  The  couple  did  not  go  to  Moon's  parents  for  some  time,  but 
occupied  their  time  in  viewing  the  land.  Finally  they  walked  to  the 
old  folks,  who  had  pitched  their  tipi  in  the  center  of  lodges  (nSriahta- 
baa,  center-place-of-lodges  or  camp-circle,  meaning,  "on  red  side"), 
and  entered  proudly. 

The  eloped  couple  seated  themselves  "on  red  side"  or  center  of 
lodge.  "Well,  dear  child,  I  am  glad  that  you  have  returned  safely. 
I  am  very  much  pleased  with  my  daughter-in-law,"  said  the  mother. 
"Yes,  she  is  beautiful  and  has  very  striking  features,"  said  the  father, 
quietly.     The  mother,  who  had  made  different  wearing  apparel  during 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  217 

the  absence  of  her  sons,  then  reached  behind  their  bed  and  pulled  out 
a  nicely  ornamented  buffalo  robe,  that  is  called,  *'the  fortieth  (buffalo) 
robe,"  and  gave  it  to  her  daughter-in-law  as  a  wedding  gift.  This 
buffalo  robe  had  forty  parallel  lines  from  the  head  to  the  tail,  in  fine 
porcupine  quills;  at  the  bottom  it  had  binding  pendants. 

"Where  is  your  other  daughter-in-law?  Is  she  doing  some 
work  outside?  She  must  be  very  timid  and  bashful,"  said  Moon. 
Sun  had  at  this  time  returned  (sunwise)  and  seated  himself  on  the 
north  side  of  the  lodge.  .  It  was  his  own  bed.  "Well,  dear  child,  your 
brother  has  just  returned.  I  don't  know  what  kind  of  a  trip  he  has 
made,"  said  the  mother.  "Well,  I  would  like  to  see  my  sister-in-law. 
Ask  your  son  where  she  is,"  said  Moon,  with  a  hint.  "Say,  dear  child, 
where  is  my  other  daughter-in-law,"  said  the  mother  to  her  son.  "She 
is  down  at  the  edge  of  the  river,"  said  Sun.  This  was  Eagle  River, 
and  ran  by  the  lodge  or  camp-circle.  "Well,  you  should  have  reported 
the  matter  sooner.  I  must  go  after  her,"  said  the  mother,  taking  up 
her  water  vessel 

Reaching  the  river  and  passing  through  tall  grass,  she  noticed  a 
toad  leap  toward  her.  Dipping  the  water  with  her  pail,  she  then 
looked  around  to  find  her,  but  there  was  no  sign  of  a  human  woman. 
Passing  the  tall  grass  again,  she  noticed  this  toad  sitting  close  to  the 
trail  and  leaping  forward  in  front  of  her.  Believing  that  it  was  her 
daughter,  she  said,  with  an  affectionate  voice,  "Come  on,  my  dear 
daughter-in-law."  The  toad  made  another  leap  on  the  trail,  then 
became  a  real  woman,  following  the  mother  closely.  Both  reached 
the  tipi  and  entered.  When  the  mother  saw  this  toad  leap  toward  her, 
it  left  a  drop  of  water  behind,  which  was  disgusting.  "Old  man,  I 
have  brought  into  our  tipi  a  toad  woman  or  frog  woman,  who  is  our 
daughter-in-law;  she  was  waiting  impatiently  at  the  river,  and 
responded  quickly  to  rriy  call,"  said  the  mother,  seating  herself  by 
the  side  of  the  old  man  with  a  sympathetic  expression  on  her  face. 
"Good!  Good!  Is  that  our  daughter-in-law,  Water-Woman,  or 
Liquid-Woman?  I  am  so  glad  to  see  her  enter  with  her  husband. 
Stir  around,  dear,  and  entertain  our  daughter-in-law,"  said  the  father, 
with  compassion,  and  at  the  same  time  coughing  loudly,  perhaps  to 
attract  attention.  "Well,  dear,  do  you  call  our  daughter-in-law 
Water-Woman,  when  I  told  you  she  was  a  toad  woman?"  said  the 
mother,  seriously.  "Well,  just  so  she  has  a  good  name,  it  matters 
not  how  you  call  her,  so  long  as  it  is  in  accordance  with  nature. 
Everything  is  satisfactory  to  me,"  said  the  old  man  in  friendly  way. 
The  mother  then  presented  Water- Woman  another  nice  buffalo  robe, 
the  same  as  that  of  Moon's  wife. 


2i8       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

Moon  vyas  displeased  with  his  sister-in-law.  He  would  look  at 
her  with  contempt.  Water-Woman  looked  so  homely  and  wrinkled- 
up  in  body  that  she  was  somewhat  timid  before  her  brother-in-law. 
"Can  you  make  that  wife  of  yours  look  decent  and  persuade  her  to  be 
social?"  said  Moon  to  Sun.  Sun  was  unusually  silent,  for  he  was 
fascinated  with  the  human  wife;  he  didn't  pay  any  attention  to  his 
own  wife,  but  kept  on  looking  at  his  brother's  wife.  This  wife  of  Moon 
was  fair  in  complexion  and  had  long  hair.  She  also  had  a  pleasing 
appearance.  Every  movement  that  the  human  wife  made  Sun  would 
notice. 

At  this  time  the  life  was  being  discussed,  objects  of  use  men- 
tioned, things  were  planned  out,  the  desires  of  man  and  woman  were 
pointed  out,  precautions  were  given,  and  subsistence  was  named. 

After  the  parents  had  fully  provided  their  daughters-in-law  with 
necessary  articles,  etc.,  they  told  their  sons  to  search  for  buffalo,  so 
that  their  wives  could  eat  the  meat.  Since  both  young  men  were  full 
of  adventure,  they  did  not  hesitate  to  go.  During  their  absence,  the 
human  wife  would  help  the  old  woman  to  do  the  various  chores,  etc., 
but  Water- Woman  would  sit  at  her  bed,  solitary;  she  was  so  timid  that 
she  faced  toward  the  wall  of  the  lodge;  but  the  human  woman  was  so 
industrious  that  she  did  a  good  deal  for  the  old  woman,  which  pleased 
her  very  much.  In  fact  this  human  woman  was  learning  the  way  to 
live  and  how  to  do  the  things  about  the  tipi.  "What  is  the  matter 
with  our  daughter-in-law,  Water-Woman?  Did  her  husband  tell  her 
to  remain  in  that  position?  Can  you  make  things  to  please  her?"  said 
the  old  man.  "I  am  sure  I  don't  know  what  to  say  to  her,"  said  the 
mother.  "Yes,  you  can  be  sociable  with  her,"  said  the  father. 
"Well,  then,  dear  daughter-in-law,  get  out  sometimes  and  sun  your- 
'self.  See  the  beautiful  land.  Perhaps  you  are  feeling  homesick. 
Walk  around  a  little,"  said  the  mother. 

Finally  the  young  men  returned  from  the  hunt  and  brought  beeves 
for  the  folks.  (Compare  the  killing  of  the  buffalo  bull  at  the  last  Sun 
Dance  ceremony,  by  Tall-Bear  and  Left-Hand,  in  front  of  the  Rabbit- 
tipi.) 

"Now,  dear  wife,  I  want  you  to  boil  that  meat  ("first  meal  or 
taste")  and  give  each  of  our  daughters-in-law  a  piece  of  it  to  eat," 
said  the  father.  So  this  mother  then  soon  boiled  the  meat  in  a  kettle 
and  gave  the  wives  pieces  of  meat.  Both  relished  the  food  thus  pre- 
pared and  given.  Moon  was  still  watching  his  sister-in-law,  as  if  to 
find  fault  with  her,  and  Sun  did  the  same,  but  being  enticed  by  the 
human  woman,  he  did  not  care  much  for  his  own  wife.  "Now,  dear 
wife,  I  want  you  to  get  that  tripe  and  boil  it  for  our  daughters-in-law, 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  219 

so  that  they  both  may  eat  it.  Get  it  done  quickly,"  said  the  father. 
"All  right,"  said  the  mother,  frankly.  So  she  then  proceeded  and 
soon  got  the  tripe  boiled.  She  gave  them  each  quite  a  big  bowl  of  it. 
The  human  woman  took  her  bowl  quickly  and  began  to  chew  the  tripe, 
cracking  it  nicely.  The  old  folks  were  very  much  pleased  by  her 
quality  of  sharp  teeth.  While  the  human  woman  was  eating,  and  the 
parents  were  watching  her  mouth,  the  frog  woman  or  toad  woman 
slyly  procured  a  small  piece  of  charcoal  and  put  it  into  her  mouth. 
When  she  placed  the  tripe  in  her  mouth  she  looked  around  and  chewed 
it,  but  there  were  no  musical  notes  from  her  mouth,  because  she  didn't 
have  the  teeth  to  grind  it.  While  she  was  chewing  away,  the  black 
saliva  was  seen  running  down  from  the  corners  of  her  mouth.  "Oh! 
Look  at  her!  She  has  no  teeth,  poor  thing.  Say,  mother,  look  at 
her.  Surely  she  has  not  the  grinders.  Laugh  at  her,"  said  Moon, 
laughing  vigorously.  "My  dear  child,  don't  act  mean  to  your  sister- 
in-law;  speak  kindly  to  her,"  said  the  mother. 

"Now,  dear  children,  I  want  .you  to  continue  with  your  hunting 
expeditions  and  supply  us  with  beef,  so  that  these  women  may  be 
contented,"  said  the  father,  with  emotion.  So  both  young  men,  with- 
out the  slightest  objection,  started  off  in  opposite  directions. 

Shortly  after  they  had  gone  off,  the  father  got  his  wife  to  make 
two  digging-sticks' for  his  daughters-in-law.  After  the  presentation 
of  the  stick,  the  mother  of  Moon  then  showed  the  women  the  use  of 
them.  "When  you  go  out  to  dig  vegetables,  strike^the  ground  at  the 
southeast  corner  of  the  vegetable,  then  at  the  southwest  corner,  then 
at  the  northwest,  and  then  at  the  northeast  corner  of  it;  then  receive 
it  by  raising  it  at  the  west.  That  is  to  pry  it  out  from  the  ground," 
said  the  mother.  The  human  woman  still  assisted  her  mother-in-law, 
while  the  other  one  was  idle. 

Finally  the  young  men  returned   from  their  hunt,  bringing  more 

'  The  sticks  were  made  of  niyahah  (camping-near-river)  wood.  This  wood  is  very  solid  and 
grows  very  tall,  standing  at  the  edge  of  the  rivers.  It  has  a  red-looking,  slippery  bark  with  white 
dots,  and  is  used  extensively  for  breastpins  and  stake-pins  for  tipis.  This  stick  has  four  notches  of 
bark  at  the  top.  It  is  painted  black  at  the  top,  and  the  rest  below  is  painted  red.  The  dark  red 
notches  of  bark  represent  the  Four-Old-Men.  This  digging-stick  after  it  was  finished  represented 
the  earth,  day,  night,  camp-circle,  and  human  being. 

When  the  father-in-law  gave  the  occupation  to  the  women,  he  made  a  combination  of  digging- 
sticks  for  both  women,  red  and  black,  making  one  solid  "stake-pin  that  binds  us  all.''  Each  paint 
on  th^  digging-stick  bears  two  of  a  kind,  i.  e.,  Four-Old-Men,  being  the  stake-pins  of  the  father's 
lodge  and  also  of  the  people's  lodges.  There  are  four  digging-sticks  stuck  in  the  ground,  two  on 
each  side,  at  the  bottom  of  the  center  fork,  but  there  is  only  one  plain  one.  This  plain  stick  is  used 
in  getting  the  sods  for  the  Offerings-lodge,  and  signifies  the  present  temporal  life.  The  painted 
stick  indicates  spiritual  and  temporal  beings.  Since  there  was  no  "blood-stain"  with  our  father, 
the  sign  for  virtue  was  black  paint  (wahahshe,  black  paint — charcoal  woman).  Therefore  the  dark 
or  black  paint  on  the  stick  typifies  our  father's  country,  and  the  stick  with  red  coloring  typifies  the 
human  blood,  the  shedding  [of  blood]  or  connection  of  Moon  with  the  human  woman,  for  that  it 
is  painted  red  at  the  end 


220       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

beef  for  all.  While  the  mother  was  cooking  a  meal,  the  father  pre- 
sented the  sticks  to  his  daughters-in-law.  "These  shall  be  your 
instruments  every  day.  You  can  use  them  in  erecting  your  tipis  and 
in  digging  eating-roots  and  weeds,  etc.  They  will  be  useful  in  every 
way,"  said  the  father,  giving  the  sticks  to  the  women.  The  young 
men  watched  and  listened  attentively  to  their  father,  for  their  wives 
were  being  educated. 

"Say,  come  over  quickly,"  said  the  human  woman,  as  she  squatted 
down  with  a  deep  breath  from  her  mouth.  "What  is  it?"  said  the 
mother,  reaching  out  to  her  body.  To  her  surprise,  she  found  a  well- 
formed  baby  struggling  for  life  under  her  limbs.  "Well,  well!  Here 
is  my  dear  grandchild.  Say,  old  man,  he  is  a  nice  boy.  Look  at 
him,"  said  the  grandmother,  holding  up  the  young  baby.  "Good! 
Good!  Well,  I  am  so  happy  to  have  a  grandchild.  He  is  a  cute  little 
baby.  What  delightful  features  he  has,"  said  the  grandfather, 
lovingly.  The  young  baby  was  wrapped  with  pieces  of  buffalo  hide 
(beksaw,  beloved,  or  I  love  you).  Moon  was  still  looking  at  his 
sister-in-law  with  a  scornful  frown  on  his  forehead.  The  old  folks 
talked  pleasantly  over  the  arrival  of  the  baby.  "Oh,  pshaw,  you  make 
me  tired  of  your  foolishness;  because  you  hate  me  and  criticise  my 
appearance  inhumanly  I  will  be  with  you  all  the  time.  In  this  way 
people  will  see  you  plainly  hereafter,"  said  the  frog  woman,  leaping 
up  and  landing  on  Moon's  breast  and  adhering.'  "Say,  dear  child 
(Moon),  I  have  not  yet  finished  my  gifts  to  your  wives,  but  what  I 
have  already  given  is  sufficient.  In  order  that  you  may  know  here- 
after the  conditions  of  your  wives,  I  want  to  tell  you  the  signs.  I  am 
well  pleased  with  the  arrival  of  your  sweet  baby,  but  I  don't  like  the 
method  of  your  wife  in  giving  it  birth;  it  is  without  preparation.  The 
time  of  delivery  is  unexpected  and  comes  with  surprise;  therefore  I 
consider  that  a  better  method  may  be  adopted,  for  the  ease  of  all  con- 
cerned. So  I  want  you  to  tell  me  where  you  got  this  nice  baby,"  said 
the  father  to  his  son,  Moon.  "Well,  father,  I  got  it  after  I  arrived 
here,"  said  Moon.  "Well,  then,  let  me  see.  You  started  here  one 
day —  When  did  you  get  there,  and  when  did  you  get  back?"  said 
the  father  to  Moon.  "We  started  off  at  the  same  time,  and  I  got 
down  the  same  time  as  my  brother;  in  other  words,  the  lengths  of  day 
and  night  were  about  the  same.  But  I  came  back  with  her  on  the 
same  day  that  I  reached  the  place  below,  and  may  you  know  that 
those  people  know  of  our  elopement,  for  there  was  a  companion  with 

•  So  the  moon  bears  the  picture  of  Water-Woman,  and  at  the  same  time  typifies  the  growth 
of  humanity.  It  also  signifies  the  "  seeds  of  women  "  thereafter.  The  appearance  of  the  toad  on 
the  belly  indicates  pregnancy  of  the  woman.  The  '•  face  of  Moon  "  bears  the  mark  of  the  first  men- 
struation of  the  woman. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  221 

my  wife  when  I  saw  her,  and  both  of  them  were  searching  for  fire- 
wood," said  Moon.  "I  am  very  proud  of  your  success,  but  I  want 
both  of  you  to  know  this  in  order  that  you  may  be  careful,  and 
besides,  prepare  for  delivery.  The  fact  is,  I  don't  like  the  method  of 
sudden  deliveries,  and  have  decided  to  remedy  it.  It  is  not  humane 
for  women  to  give  birth  unexpectedly.  They  must  know  the  first  sign 
of  the  offspring.  It  would  not  be  justifiable  to  have  improper  births. 
Women  do  not  want  to  give  birth  from  an  insect,  beast,  or  by  any 
other  animal;  therefore,  remember  this,  my  dear  son,  that  you  may 
count  that  the  time  for  your  wife  from  the  time  she  has  menstrual  flow 
to  the  time  of  delivery,  shall  be  eight  months  of  pregnancy.  In 
this  way  the  child  may  be  brought  to  life  in  nine  months.  In  the 
beginning  the  child  preceded  in  the  flow  of  blood,  but  toward  the  last, 
or  at  the  outcome,  the  greater  flow  of  blood  shall  precede  the  child, 
from  the  first  to  the  tenth  finger.  Bear  in  mind  that  the  time  shall  be 
from  the  last  quarter  to  the  first  quarter  of  the  moon — from  the  day 
you  started  away  from  us  to  the  day  you  finally  arrived,"  said  the 
father  to  Moon.  This  was  through  the  kindness  and  generosity  of 
the  father  and  mother  upon  the  children.  Sun  and  Moon. 

The  young  child  was  growing  rapidly,  for  his  father  provided 
fresh  beef  for  him.  The  human  wife  was  very  industrious  and  quick 
to  learn.  Seeing  the  old  woman  at  various  kinds  of  work,  she  soon 
picked  up  an  extensive  knowledge  of  the  mode  of  life.  When  her 
husband  started  off  to  hunt  she  would  make  sinew  thongs  for  tahnirig. 
She  would  make  sinew  threads  for  her  mother-in-law  and  herself. 
When  her  husband  saw  her  working  on  the  sinew;  industriously,  she 
said  with  anxiety,  blowing  her  nose  and  placing  the  things  in  front  of 
hier:  "I  am  making  these  strings  preparatory  to  tanning  the  hides  that 
you  have  brought  over.  I  have  already  given  some  to  your  mother." 
"When  I  am  gone  away  from  home  if  you  should  go  out  for  exercise 
with  your  digging-stick,  I  want  you  to  be  careful  about  yourself. 
There  are  good  eating  foot-potatoes, •elk-potatoes,  hog-potatoes,  and 
four-potatoes.  (The  foot-potato  is  a  long  pointed  root,  therefore  it  is 
called  foot  or  leg  potato;  the  elk-potato  is  an  oblong  plant  or  root 
which  is  somewhat  whitish  in  color.  The  hog-potato  is  a  black  root; 
it  has  a  dark  skin,  with  real  white  seed,  something  like  a  turnip  in 
shape;  the  four-potato  has  on  each  root  or  plant  two  seeds,  three 
seeds,  four  seeds,  five  seeds,  six  seeds,  and  seven  seeds.)  But  there 
are  some  dead  withered  plants  in  some  localities,  that  I  do  not  want 
you  to  touch.  Remember  that  when  you  get  enough  potatoes  you  are 
to  come  home  at  once.  I  think  you  are  somewhat  lonesome,  or 
worried,  so   it  is  best  for  you  to  get  out  and  amuse  your  boy,"  said 


222       Field  Columbian  Museum — Anthropology,  Vol.  IV, 

Moon.  Sun  and  Moon  were  constantly  on  the  alert  and  in  search  of 
something  away  from  home. 

At  this  tihie  the  human  woman  had  saved  enough  sinew  strings, 
knotted  together,*  to  serve  her  purpose.  So  she  went  out  with  her 
boy,  carrying  her  digging-stick  and  nicely  coiled  string  of  sinew. 
When  she  reached  a  patch  of  foot-potatoes,  she  saw  a  withered  plant 
that  attracted  her  much.  When  she  thought  of  the  restriction  given 
by  her  husband,  she  hesitated  a  little  in  approaching  it.  Looking 
around  to  see  if  anybody  was  in  sight,  she  said,  bravely,  "I  am  going 
to  see  what  this  means."  So,  approaching  with  a  firm  attitude,  she 
digged  the  withered  plant,  and  to  her  surprise,  she  found  a  hole. 

Stooping  over  the  hole,  she  looked  into  it  and  saw  an  earth  below. 
I<ooking  down  through  this  hole,  she  also  spied  a  beautiful  camp-circle 
along  the  river.  "Well,  I  am  glad  to  see  the  way  to  get  down,"  said 
the  human  woman  seriously  and  with  energetic  disposition.  So,  talk- 
ing away  about  her  splendid  chance  of  escape,  she  uncoiled  the  sinew 
lariat  (hawtare,  standing — camp-circle — plural  hawdaha,  carried-it-on 
side,  like  a  woman  with  a  knife  scabbard ),  and  attached  one  end  of  it 
to  the  digging-stick.  The  other  end,  after  placing  her  boy  on  her 
back,  she  then  fastened  securely  around  her  body  under  her  arms. 
Placing  the  digging-stick  across  the  hole,  facing  the  pointed  end  to 
the  east,  she  then  squatted  down  and  slid  slowly  and  carefully  down. 
As  she  was  working  herself,  untwisting  the  sinew  lariat,  she  finally 
got  down  within  a  short  distance  (about  the  height  of  the  center  fork) 
from  the  earth,  for  the  sinew  lariat  was  not  long  enough  to  reach  the 
bottom.^  For  some  time  she  was  suspended  in  the  air,  until  she  was 
getting  impatient  and  tired. 

There  was  no  sign  of  her  return,  and  every  little  hope  was 
expressed  by  the  people.  "Well,  father,  I  have  again  returned,"  said 
Moon,  unloading  himself  at  the  door,  and  then  entering  the  tipi. 
"Where  is  my  wife,  dear  mother?"  said  Moon,  seating  himself  on  his 
bed.  "She  has  not  yet  returned.  Maybe  she  will  be  coming  home 
yet,"  said  the  mother.  "Oh,  no,  it  is  getting  too  late  for  her.  I  told 
you  to  watch  her  and  have  her  come  home  earlier,"  said  Moon,  in 
despair. 

Without  much  fretting  or  imposing  upon  the  old  folks  about  her 
wanderings,  he  went  out  and  searched  for  her.  Walking  around  from 
place  to  place,  he  found  a  digging-stick  lying  on  the  ground,  and  the 
footprints  of  his  wife  leading  to  it.      "Well,  well!     I  declare!"  said 

'  Compare  the  knotted  and  painted  strings  of  the  Dog-soldiers. 

•She  did  not  come  to  the  place  where  she  and  Moon  landed,  or  else  she  would  have  reached 
the  earth  below  in  safety  and  without  trouble. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  223 

Moon,  stooping  down  to  see  the  course  of  the  sinew  lariat.  To  his 
surprise,  he  saw  his  wife  and  their  little  son  suspended  just  a  little 
way  from  the  earth.  "Well,  there  is  only  one  way  to  do  it.  She 
wanted  to  get  away  from  me,  and  therefore  ran  a  risk  of  meeting  with 
an  accident.  I  shall  have  to  make  her  return  to  me,"  '  said  Moon,  in 
manly  way.  So,  reaching  out  from  the  hole  he  procured  a  round,  flat 
stone  called  "heated  stone."  Spitting  five  times  on  the  stone,  he  said 
to  it,  full  of  faith  and  desire:  "For  the  benefit  of  my  boy,  I  want  you 
to  light  on  top  of  her  head,  though  remember  you  are  not  to  fall  on 
my  boy's  head,  but  on  hers.  Please  do  this  for  me,"  and  as  he  said 
this  he  dropped  the  stone,  which  lighted  on  top  of  her  head,  breaking 
her  off  from  the  suspended  lariat  and  killing  her  instantly.  This 
woman  landed  with  her  boy  on  the  south  side  of  the  river,  at  a  short 
distance  on  a  small  elevation  of  ground.  This  was  Eagle  River  that 
runs  from  west  to  east. 

The  little  boy  was  so  young  that  he  did  not  know  that  his  mother 
was  dead.  For  some  time  he  lived  from  his  mother's  breast,  until  she 
was  fully  decomposed.  By  this  time  the  little  boy,  not  satisfied  with 
his  mother's  milk,  was  entirely  exhausted.  He  went  down  to  the 
river  to  quench  his  thirst.  This  trail  was  a  small  ravine  leading  to 
the  small  bank  of  the  river.  Just  as  the  little  boy  reached  the  bank, 
an  old  woman  (Old-VVoman-Night),  had  come  up  to  the  spot  on  the 
other  side.  "Well,  well!  dear  grandchild,  I  am  so  glad  to  see  you. 
Where  are  you  going  to?"  said  Old-Woman-Night,  with  reverence. 
"I  came  over  to  quench  my  thirst,"  said  the  little  boy,  hastily. 
"Where  did  you  come  from,  dear  little  boy?"  said  the  old  woman. 
"I  came  down  from  above,"  said  the  little  boy.  "Well,  well!  Are  you 
Little-Star  (or  Lone-Star)?  I  am  so  happy  to  meet  you.  This  is  the 
central  spot  where  everybody  comes  to.  It  is  the  terminus  of  all  the 
trails  from  all  directions.  I  have  a  little  tipi  down  on  the  north  side 
of  the  river,  and  I  want  you  to  come  with  me.  It  is  only  a  short  dis- 
tance from  here.  Come  on,  grandchild,  Little-Star,"  said  Old- Woman- 
Night,  taking  him  by  the  hand  and  leading  him  toward  the  tipi 
mentioned.  As  they  followed  the  winding  course  of  the  stream  they 
finally  came  to  a  big  thicket  along  the  bend,  and  just  a  few  paces  from 
the  edge  of  the  woods  was  a  well-smoked  tipi,  the  outskirts  of  which 
were  well  trodden.  "This  is  my  abiding-place,  grandchild.  See  the 
dense  forest  and  my  surroundings,"  said  Old-Woman-Night,  smiling 
as  they  slowly  approached  the  tipi. 

Entering  the  tipi,  Old-Woman-Night  had  a  bed  on  the  south  side 
of  the  fire.      It  had  a  willow  lean-back  and  many  articles  strung  along 

'  This  remark  of  Moon's  shows  us  that  there  is  another  place  for  dead  people. 


224       Field  Columbian  Museum — Anthropology,  Vol.  IV, 

behind  the  bed  along  the  wall  of  the  tipi.  Shortly  afterwards,  Little- 
Star  having  been  directed  to  the  splendor  of  the  timber,  the  musical 
notes  of  the  birds,  and  the  pecking  of  yellowhammers — all  affording 
harmony  throughout  the  forest — asked  his  grandmother  to  make  him 
a  bow  and  four  arrows.  "Well,  well!  My  dear  grandchild  is  very 
ambitious  and  full  of  life,"  said  Old-Woman-Night,  taking  up  her 
stone  knife  and  going  out  of  the  tipi  to  cut  sticks  for  bow  and  arrows. 
The  old  woman  brought  in  the  sticks  and  began  to  make  a  bow  and 
arrows  (origin  of  the  so-called  "lance,"  or  "coyote-bow").  The 
stick  for  the  bow  was  not  a  choice  one,  for  it  had  a  knot  near  one 
end  that  gave  the  bow  an  awkward  appearance,  throwing  the  "belly" 
to  one  side  of  the  center.  The  arrows  were  not  exceptionally  good 
either.  They  were  roughly  peeled,  had  short  corner  wing- feathers 
attached;  the  feathers  were  not  sliced,  but  were  yet  in  parts  when 
placed  on  the  arrows.  Two  were  painted  red,  the  other  two  black. 
After  the  old  woman  had  finished  them,  she  gave  them  to  the  boy,  who 
immediately  went  out  and  shot  at  a  standing  stick  that  he  placed 
against  a  mound. 

Early  in  the  morning,  this  old  woman  said  to  the  grandchild  who 
was  about  to  go  out  to  play  in  front  of  the  tipi:  "Say,  dear  grand- 
child, I  want  you  to  rema'in  inside,  while  I  go  out  and  see  if  my  traps 
have  caught  anything.  You  see  this  fireplace?  From  this  there  are 
paths  leading  out  to  the  ends  of  these  traps.  There  is  always  a  chance 
for  all  of  them,"  said  the  old  woman,  starting  out  from  the  tipi. 

After  meal  time,  and  while  the  boy  played  about,  this  old  woman 
would  put  away  something  around  their  lean-back.'  She  kept  doing 
this  until  the  boy  suspected  her.  Finally  the  old  woman  came  back 
with  a  whole  buffalo  and  carried  it  into  their  tipi.  "I  should  like  to 
know  why  you  put  things  away  behind  the  lean-back,"  said  Little-Star 
to  Old-Woman-Night.  "Oh,  for  my  lunches,"  said  she.  This  was 
done  several  times,  until  one  morning,  after  the  old  woman  had  gone 
out  to  seethe  traps,  Little-Star  said  to  himself :  "lam  going  to  see 
what  is  behind  that  lean-back.  My  grandmother  always  places  some- 
thing behind  there,"  said  Little-Star,  in  a  ridiculing  voice. 

It  was  not  long  before>  the  old  woman  left  for  her  traps.  So 
Little-Star  went  around  the  lean-back,  and  to  his  surprise,  saw  an 
animal  with  two  horns  and  blazing  eyes,  eating  or  chewing  away  at 
the  food  given  him  by  Old-Woman-Night.  "Well!  This  is  the  crea- 
ture that  eats  all  the  food  that  my  grandmother  puts  away  for  me.  If 
that  is  the  way  this  creature  does,  I  cannot  allow  it,"  said  Little-Star, 
angrily.     So,  taking  his  bow  and  painted  arrows,  he  shot  the  monster 

'  Compare  the  placing  of  food  under  the  skull  for  sacrifices. 


May,  1903.         The  Arapaho  Sun  Dance — Dorsey.  225 

between  the  neck  and  shoulder,  sending  his  arrow  out  of  sight; 
another  one  he  shot  at  the  other  place,  sending  it  out  of  sight,  too, 
killing  the  animal  instantly.  This  gave  a  red  appearance  to  the  river; 
because  this  monster  extended  into  this  tipi  from  the  river.  He  then 
took  up  a  stone  club  and  beat  the  horns  off  from  the  monster  and  let 
it  go. 

Just  then  the  old  woman  returned  with  some  more  beef  for  them- 
selves. "Say,  grandmother,  here  are  two  beautiful  horns  that  you 
can  use  for  spoons,"  said  Little-Star,  joyfully.  "Well,  my  dear 
grandmother,  after  you  had  gone,  I  saw  a  big  creature  eating  up  our 
victuals  that  you  had  laid  away.  I  then  took  my  bow  and  arrows  and 
shot  him  dead,"  said  he,  before  the  old  woman  had  a  chance  to  speak. 

"Oh!  Did  you  really  kill  him?  My  dear  child,  he  is  your  grand- 
father," said  Night-Old-Woman.  (She  was  actually  married,  secretly, 
to  this  water  monster.  She  might  have  told  Little-Star  before  that 
the  monster  was  her  husband,  but  she  had  kept  this  a  secret. ) 

After  they  had  had  their  breakfast  on  the  morning  of-  the  next 
day,  the  old  woman  said  to  Little-Star,  who  was  amusing  himself 
inside  the  lodge:  "Dear  grandchild,  I  want  you  to  remain  at  home 
while  I  go  out  into  the  woods  after 'yeaneeshe'  "(which  means,  pitched- 
tipi,  refers  to  the  erection  of  the  Offerings-lodge),  a  red  bush  that 
grows  in  bunches  in  river  bottoms.  Late  in  the  afternoon  Old-Woman- 
Night  returned  and  entered  the  tipi  in  gloomy  spirit. 

"Well,  grandmother,  what  is  the  matter  with  your  legs?"  said 
Little-Star,  looking  at  his  grandmother's  legs.  "Dear  grandchild, 
my  legs  got  scratched  up  terribly  when  I  was  going  through  the 
thicket  this  morning,  and  that  is  why  they  are  somewhat  bloody," 
said  Old-Woman-Night,  with  a  sigh.  This  old  woman  had  tortured 
her  legs  by  gashing  the  muscles  crosswise,  leaving  a  clotted  blood 
appearance. 

For  some  time  Little-Star  remained  with  his  grandmother  and 
grew  up  to  be  quite  a  young  man.  During  that  time  she  made  his 
bow  into  a  beautiful  lance,'  using  the  feathers  that  she  had  carefully 
preserved  in  her  tipi.  She  caught  eagles  and  other  species  of  birds 
and  various  kinds  of  animals  at  her  traps. 

When  Little-Star  had  completed  his  lance  ("coyote-bow"),  he 
said,  in  manly  way  and  with  signs  of  adventure,  to  his  grandmother, 
who  was  in  the  act  of  cooking  a  meal:  "Well,  grandmother,    I   am 

'  The  lance  was  like  that  of  Lime-Crazy  in  appearance.  At  the  bottom  were  numerous  kinds 
of  feathers  of  small  and  large  birds.  The  bow  was  reversed  for  a  lance,  the  end  with  the  knot  being 
next  to  the  ground;  in  this  position  it  had  owl  feathers  at  the  lower  end.  then  just  above  them 
magpie  feathers,  then  at  the  knot  bluebird  feathers,  while  near  the  top  was  a  hawk  feather,  and  at 
the  top  an  eagle-wing  feather. 


226        Field  Columbian  Museum — Anthropology,  Vol.  IV. 

going  away  to  leave  you.  I  think  I  have  done  enough  with  you.  It 
is  better  for  me  to  go  back  to  my  father.  So  this  day  I  shall  leave 
you,  dear  grandmother."  So  he  took  his  lance  and  went  out  of  the 
tipi,  starting  on  the  journey  toward  the  east,  following  the  course  of 
Eagle  River.  For  days  and  nights  he  walked  and  walked,  until  he 
came  to  a  place  well  trodden  by  people. 

The  ground  was  smooth  and  slippery  in  appearance,  and  beyond 
it  there  was  a  black  tipi  painted  with  black  paint.  It  was  about  twi- 
light when  he  ran  on  to  a  snake.  "Say,  get  up,  you  lazy  thing.  The 
day  has  already  gone  far  enough,"  said  Little-Star,  poking  at  the 
snake  with  his  lance,  which  made  the  snake  rigid.  "Well,  are  you 
that  sensitive?"  said  Little-Star,  laughingly.  As  he  went  on  he 
repeated  the  same  trick  with  the  serpents  yet  asleep.  Amusing  him- 
self by  killing  the  serpents  with  his  well-feathered  lance,  he  would 
laugh  very  heartily,  until  he  awoke  some  people  at  a  distance  who 
gave  the  alarm.  "Ah!  Get  up  all  of  you  people!  You  might  all  be 
exterminated  by  Little-Star.  He  is  very  mischievous  and  very  daring. 
Stir  around,  you  people,  and  let  us  obstruct  his  journey  and  thus  save 
our  kindred.  Look  at  him  with  that  'crazy'  lance,"  said  a  man  (per- 
haps a  chief),  with  commanding  voice.  So  the  serpents,  small  and 
large,  woke  up  and  moved  about,  and  soon  covered  the  earth  entirely. 

Little-Star,  seeing  that  it  would  be  quite  an  undertaking  to  pass 
the  people,  walked  to  and  fro  to  find  a  trail  to  get  to  another  land, 
but  the  whole  horizon  was  thickly  covered  with  serpents.  For  four 
days  and  nights  he  walked  about  in  search  of  a  passage,  but  without 
success.  At  this  time  he  was  getting  somewhat  tired  and  sleepy.  As 
he  walked  about  to  steal  a  passage  through  the  crowd,  he  said  to  his 
lance  with  great  faith,  "Now,  if  anybody  comes  to  injure  me  while  I 
am  resting  (sleeping),  I  wish  you  would  fall  on  top  of  me."  So,  stop- 
ping on  good  level  ground,  he  staked  his  lance,  his  head  at  the  foot  of 
it,  and  went  to  sleep  to  renew  his  strength.  As  the  serpent  came  up 
to  attack  him,  the  lance  lighted  on  his  body,  waking  him  instantly. 
"Get  away  from  me  or  you  will  get  hurt,"  said  Little-Star,  gaping  and 
getting  up  with  his  lance  and  beginning  to  walk  around  again.  Find- 
ing a  good  level  place,  he  again  staked  his  lance,  laid  his  head  at  the 
foot  of  it,  and  went  to  sleep.  Shortly  after  he  had  gone  to  sleep, 
another  serpent  came  crawling  slowly  for  an  attack,  but  this  lance 
lighted  on  Little-Star  again  and  awakened  him  instantly.  "Oh,  pshaw! 
Keep  away  from  me,  you  ugly  creatures,  or  you  will  get  hurt!"  said 
Little-Star,  gaping,  dusting  his  hair,  and  getting  up  with  the  lance. 
Wandering  to  and  fro  along  the  vast  throng  of  serpents  he  finally  got 
sleepy  again,  and  rested  on  good  level  ground  at  the  foot  of  his  lance. 


Mav,  1903.         The  Arapaho  Sun  Dance — Dorsey,  227 

During  his  slumber,  another  serpent  came  crawling  slowly  to  him  for 
an  attack,  but  the  lance  lighted  on  him,  thus  awakening  him.  "Oh, 
pshaw!  You  just  go  back  at  once!  I  don't  want  you  about  me," 
said  Little-Star,  angrily,  getting  up  with  the  lance.  At  this  time  he 
was  getting  very  sleepy  and  tired.  Seeing  a  nice  soft  grass  spot  on 
level  ground,  he  staked  his  lance  in  the  ground  and  went  to  sleep 
right  away,  and  it  was  about  the  fifth  day.  Shortly  afterwards  there 
came  a  big  serpent  crawling  noiselessly  for  an  attack.  The  lance,  as 
ordered,  lighted  on  Little-Star's  body,  but  he  did  not  awake  this  time. 

"I  thought  surely  at  this  time  I  would  get  you,"  said  the  big  ser- 
pent, advancing  behind  Little-Star,  recklessly.  Still  Little-Star  was 
sound  asleep.  So  the  big  serpent  crawled  slowly  into  his  rectum,  up 
through  his  spinal  column,  into  his  skull,  and  then  completely  coiled 
up  within  the  skull  and  remained  there,  which  totally  disabled  Little- 
Star  physically. 

Little-Star  was  conquered  for  being  fast  asleep  on  the  open  prairie. 
When  the  serpent  got  into  his  skull,  he  was  made  to  lie  on  the  ground 
until  his  entire  body  was  a  perfect  skeleton.  Little-Star  found  him- 
self with  a  heavy  burden  in  his  skull,  and  remained  motionless  until  he 
was  a  perfect  skeleton.  But  the  ligaments  kept  the  bones  together, 
thus  leaving  some  sense  for  him.  In  this  condition  he  gave  his  image 
to  the  people  as  a  cross. 

When  Little-Star  was  in  normal  condition,  he  said  in  .a  somewhat 
fainting  voice,  but  to  the  point,  "Now  I  wish  there  would  be  two  days 
of  pouring  rain,  and  after  that,  two  days  of  intense  heat."  After  he 
had  so  said,  there  came  big  black  clouds  and  much  thundering.  In  a 
short  time  the  rain  came  down  heavily  all  over  him,  thus  soaking  him 
completely.  Then  the  sun  came  out,  throwing  its  heat  rays  on  him 
for  two  days.  About  noon  the  serpent  became  so  restless  in  the  skull 
that  it  finally  made  its  way  out  and  stuck  its  head  out  of  Little-Star's 
mouth,  panting  from  exhaustion.  The  serpent  was  thrusting  its  tongue 
out  and  blinking  its  flaming  eyes,  when  Little-Star  secretly  moved  his 
right  hand  under  his  chin  and  suddenly  grasped  the  serpent's  neck, 
and  then  got  up,  sat  down  on  the  ground,  and  pulled  the  serpent  out 
of  his  mouth. 

"Now  I  have  you  at  last.  You  know  very  well  that  I  am  all  right 
and  possess  some  wonderful  powers.  You  caught  me  when  I  was 
sound  asleep,  but  you  cannot  kill  me.  Here  is  a  fine  chance  to  get 
even  with  you,"  said  Little-Star,  angrily,  regaining  his  usual  robust 
condition. 

Little-Star  was  holding  this  serpent's  neck  tightly  as  he  scolded 
him.     Just  as  he  was  about  to  injure  the  serpent  with  his  poisonous 


VcK,. 


228       Field  Columbian  Museum — Anthropology,  Vol.  IV. 

lance,  the  captive  spoke,  saying  to  Little-Star  with  an  earnest  plea: 
"You  know  that  I  have  given  myself  up  to  you.  For  your  honor  and 
integrity  I  give  my  skin  to  you  to  wrap  your  lance  with,  and  to  the 
end  that  you  may  remember  me  in  my  supplications. "  This  he  said 
with  pitiful  expression  and  signs  of  fatigue.  "All  right;  it  is  a  good 
thing  that  you  are  willing  to  give  up  your  skin  for  my  lance;  you  have 
saved  yourself  by  your  promptness  and  willingness  to  me.  Well,  let 
me  see;  if  your  skin  does  not  obstruct  my  hand  from  peeling  it  off 
easily,  then  your  assurance  of  your  willingness  to  be  subdued  is  agree- 
able to  me,"  said  Little-Star,  taking  the  neck  of  the  snake  with  his 
right  hand,  and  with  his  left  hand  peeling  off  the  skin.*  "Now,  Little- 
Star,  take  this  skin  of  mine  and  wrap  it  around  your  lance  or  coyote- 
bow  and  keep  it  there,"  said  the  big  snake.  The  serpent  was  then 
turned  loose,  and  went  back  to  his  kind,  with  less  power. 

Little-Star  then  continued  his  journey  until  he  reached  the  black- 
painted  tipi  and  entered  it  with  his  lance.  Reaching  the  Father,  Sun 
(he  was  related  to  him,  as  Moon  was  a  brother  of  Sun),  at  short  dis- 
tance, he  advanced  recklessly  and  spied  everything  in  front  of  him. 
"Well,  well!  That  mischievous  boy  is  coming.  He  is  a  hard  case,., 
and  therefore  he  ought  not  to  enter  this  lodge,  because  it  is  pure  and 
holy,"  said  Sun.  "Say,  young  man,  I  think  it  is  best  for  you  to 
return,  for  your  lance  is  a  lawless  one.  So  please  go  back  to  your 
grandmother,  who  made  the  lance  for  you,"  said  Sun,  in  earnestness 
and  much  thought.  Little-Star,  without  further  approach  to  his 
father,  returned  to  the  east  and  went  out  of  this  black  lodge.  Little- 
Star  removed  from  his  lance  the  attachments,  thus  cleansing  it. 
Turning  around,  he  placed  his  lance  above  the  door  of  this  black 
lodge.  Thus  he  became  the  morning-  star,  so-called  the  cross,  "but 
really  the  Little-Star,  following  his  father  and  mother,  Sun  and  Moon. 

That  small  group  of  stars  early  at  night,  with  a  row  of  stars  along 
the  side  represents  the  hand  of  Little-Star  with  his  lance.  That  was 
the  erfd  of  his  journey. '^ 

*  From  this  time  on  these  snakes  shed  their  skins  annually. 

*  The  story  relates  to  the  whole  Sun  Dance  ceremony.  The  center  fork  signifies  tlie  father's 
home.  The  unwrapping  of  this  lance  corresponds  to  the  people  placing  children's  clothing  on  the 
ceoter-pole.  The  dancing  out  is  the  return  of  Little-Star.  The  smoking  of  the  Straight-Pipe,  and 
wrapping  of  the  wheel,  and  other  things  is  the  continuation  of  the  Sun  and  Moon  with  us.  It  is  the 
place  of  holiness  and  glory. 


J 


UNIVERSITY  OF  ILLINOIS-URBANA 


3  0112  084204467 


